Travel | johnliddlephotography

October 20, 2014
by johnliddlephotography 8 Comments

Miyajima Walks – part 2

For a small island, there is much to see on Miyajima and unfortunately I was barely able to scratch the surface. As with many places in Japan, one leaves knowing there is still much to see on future visits. For this final post on Miyajima, I would like to focus on two of the island’s many interesting sites, namely the Reikado Hall and the Daisho-in Temple.

Kieza-no Reikado Hall is home to an eternal flame that has burned continuously since the lighting of the holy fire in the year 806 by Kobo Daishi, the founder of the Shingon sect. It is said that Kobo Daishi, during his visit to Miyajima, performed “Gumonji” for 100 days – a meditative practice involving a fire ceremony. Since that time, the flame has continued burning and in 1964 was used as the pilot light for the Peace Flame of Hiroshima’s Peace Park. Such a link could not have been foreseen when the flame was first lit, yet one hopes that one day the Peace Flame will be extinguished to mark the destruction of all nuclear weapons.

Reikado Hall (pic 1) is a relatively small building near the summit of Mount Misen, where the eternal flame is an irresistible attraction despite the smoke filled interior not being the most pleasant of environments. Pics 2 and 3 give some idea of the smoke-filled interior and show a large pot of water being heated above the flame. It is believed that drinking the heated water has curative power and perhaps the couple in pic 3 will enjoy the benefits. The Hall is also renowned as a “lover’s sanctuary” with the flame being akin to the eternal fire of love. There is a legend that those dedicating votive tablets (pic 4) at least three times will be granted their wish.

At the base of Mount Misen, one finds Daisho-in, an impressive complex and one of the most important temples of Shingon Buddhism. Unfortunately my visit was too short to properly view and appreciate the variety of buildings and artifacts within the complex, thereby limiting my ability to share. However, I enjoyed my all too brief visit and as I hope the selected images will show, I left Daisho-in with a feeling of light-heartedness.

The temple grounds are sloping, even a tad hilly, yet they manage to evoke a feeling of relaxation. Kannon-do Hall, seen in the background of pic 6 is probably the dominant building and pic 6 is also a good example of how buildings, Buddhist deities and gardens are integrated within an inviting environment.

A recurring theme around Daisho-in and indeed elsewhere on Miyajima is the use of multiple statues, such as the Rakan statues (pics 7 and 8) lining the steps to the temple. Altogether, there are 500 statues, each with a different facial expression. However, I couldn’t help but be taken by the personality added by crowning each with woolen beanies, which reminded me of football team colours.

Other multiples were found in the form of the 1000 Fudo images (pic 9) donated by worshippers to commemorate the succession of the current (77^th) head priest and the seven happy deities in their lovely garden setting at pics 11 and 12.

In conclusion I would like to comment briefly on pics 10 and 13, which depict representations of Jizo – one of the most beloved of Japanese divinities. Although Jizo have many guises, they are invariably presented as friendly, comforting figures as in pic 10, or even as cute manifestations in more contemporary form as in pic 13.

As I said in the introduction, Miyajima has much to offer for such a small island and I hope this and the two preceding posts has provided a glimpse of the island’s significance.

(Please click on any of the following images for an enlarged view.)

Reikado Hall – pic 1

Reikado Hall – pic 2

Reikado Hall – pic 3

Reikado Hall – pic 4

Praying Figures

Daisho -in

Rakan Statues – pic 1

Rakan Statues – pic 2

Fudo Images

Deities

Seven Happy Deities – pic 1

Seven Happy Deities – pic 2

Jizo Statue

October 5, 2014
by johnliddlephotography 2 Comments

Miyajima Walks

The best way to explore small islands such as Miyajima is by walking around and in this post I would like to share a selection of photographs taken during my exploration of the island. Some shots were taken around the island’s small town, but most are shots from time spent walking on Mount Misen, an enjoyable and sometimes arduous activity.

The graceful flowing lines of Japanese temple roofs is a sight I never tire of and when the thatched roofing materials can be shown in front of a natural forest (as in pic 1), the blending of man-made and natural structures is quite sublime. Maintaining this natural theme is the island’s houses (pic 2), which typically portray traditional Japanese styles utilizing materials such as wood and stone to great effect. Of course, this is accompanied by modern additions such as satellite dishes.

It is not unusual in Japan to come across small businesses supplying temples and shrines and as shown by pic 3, Miyajima is no exception. I have long admired Japan’s ability to maintain old skills and traditions, often through businesses passed down through many generations and when one consistently finds businesses of this type close to temples and shrines, it suggests a preference to support the work of local artisans.

As a protected site, the island’s deer population (pic 4) can be found everywhere from the peak of Mount Misen to wading through the waters at low tide near the Itsukushima Shrine. Perhaps I was just lucky during my visits, but the Miyajima deer seem to be less mischievous than their Nara counterparts. (Those who have visited Nara will know what I mean.)

The deer certainly handle the slopes of Mount Misen with greater ease than humans and although there are extensive paths to follow, care is often required to safely negotiate one’s climb and descent. Nevertheless, as can be seen from pics 5 to 9, Mount Misen is well worth the effort. When walking in Japan, a frequent sight is that of stone arrangements like those shown at pic 10. I don’t know if there is any special significance to the arrangements, or perhaps people simply like the challenge of creating and/or adding to little ornamental stone arrangements. Whatever its significance, it is an engaging form of communal art and entertainment.

The stone arrangements are again seen at pic 11, where Kannondo Hall in the foreground is said to be where prospective parents can ask for a safe childbirth, despite no births being allowed on the island. The building visible in the background is Monjudo Hall, where one can ask to be endowed with the ability to be a good student.

Further up the mountain, one finds Sankido Hall (pics 12 and 13), where it is believed one’s prayers for household welfare and business prosperity will be answered. On a practical level, Sankido Hall also serves as a welcome rest stop where one can enjoy a relaxing and contemplative break from the comfort of the welcoming Tatami flooring.

On the descent I came across a hall I failed to identify (pics 14 to 16) guarded by a couple of impressive, but fierce looking guardians. If anyone can provide further information about this building, it would be appreciated. I also found the sign made by the guardian’s right hand in pic 16 quite amusing given the penchant of the Japanese for hand signs. Perhaps it is more deeply ingrained in their culture than I realised.

What better way to end a walk around Miyajima than the shot of two young boys waiting for the ferry, looking happy and well stocked from their trip to the island.

(Please click on any of the following images for an enlarged view.)

Rooflines

Typical Island Homes

Temple Supplier

One of many dee

Mt Misen walk – pic 1

Mt Misen walk – pic 2

Mt Misen walk – pic 3

Mt Misen walk – pic 4

Mt Misen walk – pic 5

Public stone arrangements

Kannondo Hall

Sankido Hall – pic 1

Sankido Hall – pic 2

Unknown Hall – downhill approach

Unknown Hall – uphill approach

Hall Guardian

Waiting for the ferry

September 25, 2014
by johnliddlephotography 2 Comments

Floating Torii and Itsukushima Shrine (Miyajima)

A short train journey of approximately 20 kilometres from Hiroshima followed by a ferry ride brings one to Itsukushima Island or, as it is more popularly known, Miyajima.

Even those with little knowledge of, or interest in Japan are likely to have seen photographs of Miyajima’s famous Floating Torii (also known as Otorii or Great Torii), which is acclaimed as one of Japan’s three most scenic views and said to be the most photographed structure in Japan. Now it is my turn to humbly add a few more.

When viewed from Mount Misen (pic 1), the Floating Torii can be seen about 200 metres out to sea in a direct line with the Honden (main hall) of the Itsukushima Shrine, which is similarly built over the water. The decision to build the torii and shrine over the water is testament to the sanctity of the island, which, since ancient times has been revered and worshipped as a sacred place. It was believed that locating the buildings over the water would allow Shinto followers to worship without despoiling the sanctity of the island. Although such beliefs and the strict rules governing access to the island have been relaxed over time, even today no births or deaths are allowed on the island.

The first Floating Torii was built in the 12^th Century and the current structure dates back to 1875. To refer to it as “floating” is somewhat misleading in that Otorii rests on the seabed, where its solid structure and weight of some 60 tons provides ample stability. Included in the overall weight are seven tons of (fist sized) stones filling the box shaped upper section of the torii.

Prior to visiting Miyajima I had seen many brilliant photographs of the Floating Torii, yet when on site I found myself more interested in the torii’s relationship to its environment as shown at pics 2 to 5. I recall the thrill on my first visit of seeing the Floating Torii in the distance from the ferry terminal and watching it grow in stature as the ferry approached the island – an experience shared by many over the centuries. Similarly, when viewed from the island, one is drawn to thinking of how the mainland has changed over Otorii’s lifetime. In turn, one wonders how it will change in the centuries to come and it is comforting to think that a nexus will continue to exist between the ever-changing world on the mainland and the traditional past represented on the island.

Itsukushima Shrine stands in a protected cove, with all the shrine’s wooden buildings rising out of the sea, as can be appreciated from pic 6. At high tide, the entire shrine complex appears to float and at low tide, visitors and the island’s resident deer population can stroll on the sand between the buildings.

The accompanying photographs give some idea of this unique place, which includes the only Noh stage in Japan (pics 7 and 8) that rests upon the sea. I particularly like the way the stage blends with the beach and the surrounding hills (pic 8) to create a contemplative scene, hopefully being enjoyed by the lone person on the shore.

As with all shrines, they are functional places and during my visit a ceremony (pic 9) was underway. Connecting the mainland to the shrine is Sori-bashi (arched bridge) shown at pic 10, an imposing structure that is believed to have served as access for imperial messengers on important festive occasions. The bridge was first built around 1240, with the current bridge dating back to 1557.

Adjoining Sori-bashi is the Tenjin Shrine (pics 11 and 12) dedicated to a deity of education and intelligence. This building was constructed in 1556 and served as a venue for monthly Renga poetry ceremonies through to the middle of the Meiji period. To distinguish its later build, this building and the Noh Stage are not coated in the vermillion lacquer used predominantly across the Itsukushima Shrine buildings, but have been left untreated. This has allowed the timber to age naturally, which I found quite in keeping with the shrine’s exposure to the elements.

Whilst I did not visit the five-storey pagoda (pic 13), it is a prominent landmark built on a bluff overlooking the Itsukushima Shrine, first constructed in 1407. Finally, I end with a couple of shots (pics 14 and 15) of Otorii at low tide where it has sat majestically for centuries.

(Please click on any of the following images for an enlarged view.)

View from Mount Misen

Floating Torii – pic 1

Floating Torii – pic 2

Floating Torii – pic 3

Floating Torii – pic 4

Arriving by ferry

The Noh Stage – pic 1

The Noh Stage – pic 2

Priest in Main Shrine

Arched Bridge

Tenjin Shrine – pic 1

Tenjin Shrine – pic 2

Five Storey Pagoda

Floating Torii at low tide – pic 2

Floating Torii at low tide – pic 1

August 30, 2014
by johnliddlephotography 4 Comments

Shukkeien Gardens (Hiroshima)

This is the fourth and final post of my Hiroshima series. I realise that the subject matter has often been confronting, but I believe we must sometimes confront the horrors of the past to focus on a brighter future.

I am happy to end the series with a selection of photographs taken during a visit to Hiroshima’s Shukkeien Gardens. One may view the photographs as “pretty pictures” and that is essentially what they are. However, I ask that viewers consider the following facts about the Shukkeien Gardens.

Commissioned in 1620.
First opened to the public in 1940.
Demolished by the A-bomb on August 6, 1945.
Approximately 1.4 kilometres from the bomb’s hypocentre.
Victims took refuge in the gardens. Most died and their remains are interred there.

When viewed in this light, I see the gardens as a symbol of regeneration and a place that has once again become a happy place for residents of and visitors to Hiroshima. Even the high-rise buildings that overlook and somewhat diminish the ambience of the gardens can be viewed as a sign of a city moving forward.

To those who have viewed this series – thank you!

(Please click on any of the following images for an enlarged view.)

Shukkein pic 17

Shukkein pic 1

Shukkein pic 2

Shukkein pic 3

Shukkein pic 4

Shukkein pic 5

Shukkein pic 6

Shukkein pic 7

Shukkein pic 8

Shukkein pic 9

Shukkein pic 10

Shukkein pic 11

Shukkein pic 12

Shukkein pic 13

Shukkein pic 14

Shukkein pic 15

Shukkein pic 16

Peace Park Memorials (Hiroshima)

August 25, 2014 by johnliddlephotography 5 Comments

Take away the Dome Building from the background of pic 1 and the scene could resemble that found in many municipal parks around the world. However, Hiroshima’s Peace Park is no ordinary park, of which the Dome Building is the focal point and one of many memorials within the Peace Park.

Walking in the park

Four years to the day after the bomb was dropped, the decision was taken to devote the area to peace memorial facilities – a major change from the area’s previous role as Hiroshima’s political and commercial centre. Construction of the park took place between 1950 to 1964 and for those interested in early footage of this period, I again refer you to the classic French movie titled “Hiroshima Mon Amour”.

This post shares images of some memorials and their significance, though I must qualify this by saying that their significance is most strongly felt on site.

The Cenotaph for the A-Bomb Victims (pics 2 and 3) straddles a direct line of sight between the Dome Building and the Peace Museum. Below the arched tomb is a stone chest with a register of the names (more than 200,000) of those who perished in the initial blast or through subsequent exposure to radiation. At the centre of pic 3, one can see the Peace Flame, which has burned continuously since it was first lit in 1964. The Flame stands as a perpetual beacon for peace and will only be extinguished when all nuclear weapons are destroyed. Sadly, one must wonder if that will ever happen.

Cenotaph – pic 1

Cenotaph – pic 2

To the east of the Cenotaph lies the Hiroshima National Peace Memorial Hall, a beautiful yet sobering remembrance to the atomic bomb victims. On the roof of the mostly underground memorial (pic 4), one will observe the clock frozen at 8.15am to mark the time the bomb exploded and the cascading water, symbolic of survivors’ craving to quench their thirst.

National Peace Memorial Hall

Below ground the central feature is the Hall of Remembrance (pics 5 and 6), which features a 360-degree panorama of the destruction following the blast. To create the panorama, a total of 140,000 tiles were used to represent the estimated number of people who died from the bomb by the end of 1945. The depiction of individual victims through their photos on a bank of frequently refreshing screens (pic 7) communicates the personal cost of the tragedy and serves to remind us how many families must have been impacted directly or indirectly.

Hall of Remembrance – pic 1

Hall of Remembrance – pic 2

Hall of Remembrance – pic 3

A particularly poignant memorial is the Children’s Peace Monument to commemorate the children who died as a result of the bombing. Pics 8 to 10 show a group of students paying tribute in a ceremony that ended with laying a bouquet of folded paper cranes at the base of the memorial. (I would have shared the moment photographically had an overly zealous teacher not blocked my view.)

The statue atop the monument shows a girl with outstretched arms, above which is the representation of a folded paper crane. This depiction was inspired by the true story of Sadako Sasaki, a young girl who had appeared to survive the blast only to succumb to a radiation related illness some years later. Sadako’s belief that by folding 1000 paper cranes she would be saved was sadly not enough to save her. However, her story lives on through the adoption of paper cranes (pic 11) as a symbol of peace. In fact, it is estimated that more than 10 million paper cranes per year are sent to Hiroshima, mostly from children around the world.

Children’s Peace Monument – pic 1

Children’s Peace Monument – pic 2

Children’s Peace Monument – pic 3

Inspired by Sadako

As one would expect, not all victims could be identified and the grassy Memorial Mound (pics 12 and 13) contains the ashes of an estimated 70,000 unidentified victims. Similarly, the number of Korean nationals who perished is uncertain and the Cenotaph for Korean Victims (pic 14) was created to honour victims and survivors from the bombing and from Japanese colonialism. An inscription on the statue reads “Souls of the dead ride to heaven on the backs of turtles”.

Memorial Mound – pic 1

Memorial Mound – pic 2

Monument to Korean Victims

Two statues of very contrasting styles encapsulate the message of the Peace Park. The first is the “A-bomb Victim – the Monument of Hiroshima” (pic 15) located 141 metres south of the hypocentre by the bank of the Motoyasu River. The bronze sculpture remembers those victims who were killed instantly by the blast and serves as a graphic reminder of their horrific end. Although the sentiment behind the sculpture is positive, the twisted, distorted representation of the victim remains confronting. Further along the river, close to the Dome Building, one finds the statue of a girl and boy with the boy holding a dove (pic 16), which communicates hope for a peaceful future. These two contrasting sculptures that show the horror, yet advocate for peace is very much the message of the Peace Park.

Monument to A-bomb Victim

To a Peaceful Future

In conclusion, I would like to remember the resonant sound of visitors ringing the Peace Bell (pics 17 and 18) located near the Children’s Peace Monument. This is perhaps the most pleasing sound one hears in the Peace Park. The Bell, donated by the Greek Embassy, is inscribed in Greek, Japanese and Sanskrit characters, which translate to “Know yourself”. I rang the bell only once during my final visit as a mark of respect and to bid farewell to Hiroshima. Whilst I cannot speak for others, I found the experience of ringing the bell as akin to that of making a commitment to support the message of the Peace Park.

The Peace Bell

Ringing the Peace Bell

(Please click on any of the images for an enlarged view.)

August 2, 2014
by johnliddlephotography 2 Comments

Harajuku Lebels

In my last post we took a stroll through Harajuku and today we visit the Harajuku Lebels at play.

Last time the stroll started by exiting Harajuku Station and walking straight ahead and down Takeshita Street. Today we turn right after exiting the station and head up the hill towards Yoyogi Park, another of the expansive green spaces one finds within the Tokyo metropolis and an extremely popular venue at weekends for people of all ages.

Near the park entry one finds the Harajuku Lebels, who have staked out their play, or should I say performance space for the day. The Lebels are a group of Rockabillies who put on their own rock and roll dancing show to the sounds of old Elvis and other rock classics. I don’t know what they do during the week, though a Japanese person in the crowd told me they are mostly Salarymen who don their Lebels gear at weekends and transform into their 1960’s personas.

They attract a crowd; yet don’t appear to play to the crowd. In fact, they appear to be totally enclosed in their own little magic circle that becomes their world for a few hours at a time. They dance with each other and for each other. Moves are taught and practiced and the camaraderie within the group is evident. Performances have an impromptu, almost jazz like feel to them. Dancers doing a solo routine will be joined by others, from which choreography equivalent to session musicians jamming will emerge.

Black is the preferred colour, most aptly captured at pic 2 where the young woman’s long black hair complements the black on black look perfectly. However, black is not compulsory, as one can see from several photos featuring the tattooed dancer in blue jeans, who seemed to be, if not the leader, the dominant player within the group. As in all areas of life, dominance Invites challenge and in this case, the dancer featured in pics 3 and 4, who, to my inexpert eye, was the best dancer of the day, gave the impression of staking his claim in a friendly way.

Dancing is hot work and the group worked their way steadily through a lot of beer in their own unique style. Beers were distributed by one dancer opening a can and throwing it in a high arc to another dancer who, except for one mishap, would expertly catch the can and quench their thirst. As you may imagine a lot of beer was spilt in the process.

I couldn’t help noticing a couple of other things. Firstly, several of the dancers had wallets or other items in their back pockets (as in pic 13). This is not an unusual sight in Japan, whereas in most places it would be akin to an invitation to be robbed. Secondly, the dancers were doing it purely for their personal enjoyment and nowhere around their magical circle was there hats or tins to collect donations from spectators. Even watching a group of Rockabillies contains cultural messages.

Apart from references already made to some photographs, the selections speak for themselves – a group of friends having fun doing what they enjoy and entertaining others in the process. Sounds like a win/win.

(Please click on any of the following images for an enlarged view.)

Waiting in the wings

Lady in Black

Rocker 1 – pic 1

Rocker 1 – pic 2

Rocker 2 – pic 1

Rocker 2 – pic 2

Choreography advice – not

Watch me strut

Splits attempt – pic 1

Splits attempt – pic 2

Playing air guitar

Dancing shoes

Taking a break – pic 1

Taking a break – pic 2

Taking a break – pic 3

Big Finale – pic 1

Big Finale – pic 2

Big Finale – pic 3

Big Finale – pic 4

Fans

July 19, 2014
by johnliddlephotography 2 Comments

Harajuku

I first heard of Harajuku long before I visited Japan through the term Harajuku girls. The term is used to describe those (predominantly teenage girls) who enjoy dressing in theatrical costumes to take on the aura of real or fictional characters.

In the past Harajuku was a gathering point for this genre, particularly at weekends and although they are still to be seen, it would seem the popularity of garish dressing is on the decline. The area’s popularity inevitably attracted the attention of large international chain stores, which now compete with the edgier independent fashion stores for the patronage of the fashion and trend-conscious youth market. Nevertheless, Harajuku remains very much a youth oriented area and a major hub for youth culture and fashion.

Geographically, Harajuku is a relatively small area roughly covering the area between Harajuku Station and Omotesando, a more up-market area where one can find many high-end luxury brands. At this point, I should acknowledge that those who know Tokyo well would recognise that some of the photographs in this post are within Omotesando. However, geographic boundaries are often blurry and they are included as being more Harajuku in style.

Most people travel there by train and the first view is from the station platform (pic 1) looking directly down Takeshita Street, the must-see inclusion in any visit to Harajuku. Exiting the station, follow the pedestrian crossing (pics 2 & 3) directly to Takeshita Street, which is really more of a laneway with shops (pics 4 to 6) on either side. Be prepared for a crowd if visiting on a weekend (pic 7), though during the week there is more room to move (pics 8 & 9).

It’s a good place for people watching and one encounters interesting casts of characters such as those in pic 8. There is the Salaryman in his business suit seemingly interested in nothing but his mobile phone; the young attractive woman presumably wanting to be noticed and the young guy on the left who maybe doesn’t want to be noticed. This assortment of characters is typical of Tokyo where, no matter what an area’s dominant demographic might be; one invariably finds a cross-section of people from different walks of life, including those with interesting pets (pic 11).

The area also has entertaining buildings worth a second look. We often hear that land is scarce in Tokyo and perhaps one should not be too surprised to find a three-level café built from (or at least inspired by) shipping containers (pics 12 & 13).

Another standout building is The Watari Museum of Contemporary Art (pics 14 & 15), one of Tokyo’s leading contemporary art galleries. I recall turning my head when I first drove past in a taxi upon my arrival and immediately made a mental note to find the place again. As well as attracting attention to the Museum, one must applaud their promotion of art in this way. If one is wondering what the faces are looking at, the answer is on the other side of the street (pic 16). By the way, pics 16 to 18 are what I meant by Harajuku style in Omotesando.

To conclude this little walk through Harajuku I could not resist snapping the photographer on an overpass setting up his large frame camera (pic 19). What was he photographing? The Sunday afternoon crowds outside Harajuku Station of course (pic 20).

(Please click on any of the following images for an enlarged view.)

Takeshita Street from Station Platform

Harajuku Station Crossing – pic 1

Harajuku Station Crossing – pic 2

Takeshita Street Shops – pic 1

Takeshita Street Shops – pic 2

Takeshita Street Shops – pic 3

Takeshita Street on a Sunday afternoon

Takeshita Street on a weekday – pic 1

Takeshita Street on a weekday – pic 2

People passing by

A Pet’s day out

3 level container cafe – pic 1

3 level container cafe – pic 2

Watari Museum – pic 1

Watari Museum – pic 2

Looking back at Watari

Simple shapes & colours

Place of rest

Capturing the shot

Sunday afternoon outside Harajuku Station

July 12, 2014
by johnliddlephotography 2 Comments

Ginza (part 2)

In part 2 of my post on Ginza I’d like to show there is more to Ginza than beautifully presented stores selling up-market products. Where better to start than with a Ginza institution, Meida-Ya (pics 1 and 2).

Meida-Ya is an up-market grocery store (established in 1885) whose headquarters and flagship store is located in Ginza. Operating under the motto of “The Highest Quality for Everyone Everytime”, the business now operates a network of 12 stores across the Tokyo metropolis and 14 stores elsewhere in Japan, as well as two international stores in Amsterdam and Singapore. A visit to their Ginza store will show adherence to their motto, not to mention the temptation to try some of the goodies on offer.

Despite the dominating impact of the big name brands, there is still room for independent operators to cater to those shoppers looking for individuality and quirkiness. I was quite taken by the two shops shown at pic 3, one catering for a young contemporary market and the other specializing in kimono – the most traditional of Japanese clothing. The birdcage and the coolest umbrella stand (made from a converted violin) (pic 4) draw attention to the store and add further to its individuality.

Those wishing to preserve their credit cards can also find more reasonably priced goods by exploring the quieter side and backstreets, as shown by the small footwear store at pics 5 and 6.

Art galleries are quite numerous in the Ginza area and art lovers could easily spend an interesting day wandering the streets and enjoying the exhibitions on offer. What one finds is naturally dependent on the exhibitions at any given time, though one is likely to find work ranging from jovial Buddhas (pic 8) to antiquities (pic 9). One may even come across some mobile installation art, such as Ugueno (pic 7) parked curbside. I am unsure what the work represents, but I believe it may be an alternative and highly contrasting form of flower arrangement. Whatever the message, it was noticed on the streets of Ginza.

Ginza’s shops and offices support a large workforce, thus creating a demand for bars and restaurants where workers may relax and unwind. Pics 12 to 18 show a sample of the bars and eateries, many of which can be found in Ginza’s quieter streets and laneways.

Walking around Japanese streets, one cannot help but notice the distinctive manhole covers. Rather than cheap, nondescript covers, one frequently comes across eye-catching, decorative covers that enhance the streetscape, such as the cover captured at pic 19. It seems to me that applying this level of attention to such a utilitarian item is yet another way to create pride in local neighbourhoods.

To prove that Ginza is not all gleam and glitter, I have chosen to end this two-part post with pic 20 – a photograph of rubbish awaiting collection. Yes, even Ginza needs to dispose of its rubbish, but as can be seen, it too is very tidy and well organised.

(Please click on any of the following images for an enlarged view.)

Meida-Ya at Ginza – pic 1

Meida-Ya at Ginza – pic 2

Ginza contemporary & traditional

Cool umbrella stand

More affordable footwear

Non designer label shoes

Ugueno

Ginza Galleries – Jovial Buddha

Ginza Galleries – Antiquity

Ginza Galleries – exhibition promotion

Popular transportation mode

After work drinks

Laneway Bar at Ginza

Shark Bar entry

Ginza Eateries – pic 1

Ginza Eateries – pic 2

Ginza Eateries – pic 3

Ginza Eateries – pic 4

Chuo City Manhole Cover

Even Ginza has rubbish

July 5, 2014
by johnliddlephotography 2 Comments

Ginza (part 1)

The young woman (pic 1) exiting Ginza Station is about to emerge at the famous Ginza Crossing, the heart of Ginza and probably the most expensive real estate in Tokyo.

In English, Ginza translates to silver mint and was indeed the location for a silver-coin mint built in 1612. At that time the area was vastly different from today with its traditional wooden buildings and narrow streets. Two events impacted significantly on its transformation, namely the enlightenment of the Meiji Restoration period and the great fire of 1872. Decisions to adopt brick and stone as building materials and the widening of Chuo-dori from 15 to 27 metres, thus created Tokyo’s first boulevard and provided the foundation for the nation’s entrepreneurs to create the Ginza we know today.

Ginza Crossing or, to be more correct, the Ginza 4-chome intersection, is the area’s hub. On one corner is the San-ai building (pics 2 and 3), a tubular glass building housing a variety of businesses, as well as prominent advertising signage. Le Café Doutor occupies the first two levels, with the upper level being an excellent vantage point for people watching over coffee. Unfortunately, the best seats are in the smoking area, so I have not had the pleasure of lingering there to enjoy the view.

The WAKO Department Store with its famous Seiko clock atop the building dominates another corner. This is perhaps the most recognised of the Crossing’s corners (pics 4 and 5) and WAKO has enjoyed loyal patronage since its inception in 1868.

Diagonally opposite WAKO on the third corner is the Nissan Gallery (pic 6), a somewhat unusual yet interesting space where one can peruse displays of Nissan’s latest vehicles. Nissan’s head office is also located in Ginza, thus reminding us that the area is a business centre and not just a retail and entertainment hub.

The fourth corner is occupied by the Mitsukoshi Department Store, which I understand is the oldest of Japan’s major department stores and the starting point for the Mitsui Group, which operates globally across a range of diverse industries. During my visits to Japan I formed a liking for Mitsukoshi over the other major stores and it is somewhat embarrassing not to have a photograph to round out the four corners. It’s on the list for next time.

If one was to include the word Ginza in a word association test, one suspects a frequent response would be “shopping” or similar terms. There is no question that it deserves its place among the world’s great shopping and entertainment precincts, as can be appreciated from the brand names at pics 9 to 21. This is not an exhaustive coverage, but suffices to demonstrate the esteem in which Ginza is held among the world’s top designers and popular global brands.

One of my favourite photos is pic 7, where two generations under the protective cover of their brollies pass on the sidewalk. Each group seems immersed in their own conversations, though I find it amusing that the older ladies have the more colourful brollies.

In this post I have focused on showing glimpses of the well-known Ginza and without the stores depicted here, there would be no Ginza as we popularly think of it. However, there is more than glitz and glitter to Ginza and in my next post I will share some images taken around the area’s quieter streets.

(Please click on any of the following images for an enlarged view.)

Ginza Crossing – Exit A3

Ginza Crossing – San-ai building

Ginza Crossing – San-ai building at night

Ginza Crossing – WAKO building

Ginza Crossing – WAKO building at night

Ginza Crossing – view from Nissan Gallery

Generations under brollies

Ginza – workers at end of day

Armani at Ginza

Cartier at Ginza

Chanel at Ginza – pic 1

Chanel at Ginza – pic 2

De Beers building at Ginza

Dior at Ginza

GAP at Ginza

Lanvin at Ginza

Mikimoto at Ginza

POLA building at Ginza

Swarovski at Ginza

Yamaha at Ginza

ZARA at Ginza

June 3, 2014
by johnliddlephotography 6 Comments

Shinto Weddings

The best pleasures are those of the unexpected variety, such as I experienced on a visit to Kamakura’s Tsurugaoka Hachimangu Shrine. One is always drawn to a crowd and in this instance, a crowd had gathered around the Maiden (an open sided stage or pavilion) in front of the stairway leading to the main hall. Drawing closer it became apparent that, purely by luck, I was about to witness my first Shinto wedding ceremony.

As with western-style ceremonies the centre of attraction is the bride, as one will surely appreciate from the accompanying photographs. The ceremony itself is symbolic and does not legally confer marriage. This takes place previously via a civil ceremony in accordance with Japanese law.

Happening across the Kamakura wedding conducted in public was most fortunate, as most Shinto wedding ceremonies are conducted within the private areas of shrines, thus the public can only view the participants before and after. Nevertheless, it is a sight I would never tire of and I could quite happily spend my weekends photographing Shinto weddings. (Bookings will be gratefully accepted haha.)

As with many things Japanese, the ceremony and the costumes communicate a link to past traditions – a link further emphasised by the historic significance of the shrines within which the weddings take place. The locations for these photographs, the Hachimangu Shrine at Kamakura and Tokyo’s Meiji Jingu, are each steeped in history and are highly significant sites in their own right.

The brides wear exclusively white garments – a colour associated with purity in Japan, with the only exception appearing to be adornments worn in their hair. In ages past, I understand that brides would paint their faces and arms white, as do geisha, though this practice is no longer followed. The bridal kimono is intricately embroidered in patterns of the bride’s choosing, though the patterns do seem to draw heavily on symbols from nature. Perhaps the most striking part of the costume is the wataboshi, the large oval shaped hood intended to conceal the bride’s face to everyone except the groom. Whilst I don’t think it succeeds in this respect, the wataboshi is undoubtedly elegant and adds an air of mystery. For viewers who may be wondering, of the five brides shown in the photographs, four were wearing wigs.

I will now allow the pictures to tell the story. Pics 1 to 5 are shots from the Kamakura wedding and pics 6 to 17 were taken on a rather wet and cold afternoon at Tokyo’s Meiji Jingu, where a number of weddings were taking place.

Of the four brides photographed at Meiji Jingu, it was interesting to observe their different personalities. The first bride (pic 6) was ebullient and radiated happiness and joy. The second bride (pics 7 to 9) was simply a picture of elegance, whom one could happily photograph all day long. (For the photographically minded, I acknowledge that pic 9 is greatly over-exposed, but I like it anyway. It was unintentional and my best guess is that my shutter fired at exactly the same time as the official photographer’s flash.) The third bride (pics 10 to 12) looked so nervous at the conclusion of the ceremony. However, some calming words from her attendant and fine-tuning of her kimono soon transformed her into a radiant bride. Finally, the fourth bride (pics 13 to 17) epitomised grace at all times.

I hope this post gives at least a little glimpse into another of Japan’s links with tradition.

(Please click on any of the following images for an enlarged view.)