Category Archives: Japan

Everything about Japan.

The Golds of Kinkakuji, Kyoto

Last year when I went to Kyoto, Kinkakuji was part of my itinerary hoping that the February winter snow will show itself on the golden structure. But because there was no weather forecast about snowing anytime in the northern part of Kyoto when we were there, add to that the unfortunate incident of the Kyoto bus leaving seconds before we reached Takayama station, which was the reason why we can’t make it back to Kyoto earlier, we decided to skip Kinkakuji. So when I was back in Japan, during the late part of November this year, 2015, I decided to come take a look.

Kinkakuji or the Golden Pavilion is actually part of Rokuonji Temple, itself inscribed as a UNESCO World Heritage site as part of the Historic Monuments of Ancient Kyoto. Originally a country villa built during the Kamakura period, Kinkakuji overlooks the pond, this time covered with fallen leaves from maple trees that also abound the area. This structure is covered with gold leaf that is truly astounding to see in any season. I went there when some of the autumn leaves were on their peak.

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Entrance to Kinkakuji is at 400 yen and it’s open from 9:00 to 17:00. I used the Kyoto City bus 205 from Kyoto station which stops at Kinkakuji Mae bus stop.


Chasing Geishas in Kyoto

While planning our Kyoto itinerary, I made sure that I get to experience Kyoto of old and new. Our first two nights in Japan were spent in Kyoto before heading to Takayama and Shirakawa-go. After these, we went back to Kyoto to explore the city some more and stayed for another two nights. In one of those nights, we decided to eat at a place recommended by the staff at our inn. We borrowed their bikes and off we went to eat a very affordable teshoku meal. I ordered a set of chicken karaage. After dinner, we headed to Gion hoping to see Kyoto’s geisha or geiko as they are known locally.

‘Gei’ means art and ‘sha’ means person. The word ‘geisha’ means, a person learned in the arts, or more accurately, a woman learned in the arts. Seeing a real geisha in Kyoto is very difficult because there are only a few of them. We traveled in February, not really a time for festivals, (Geisha stages dance performances during Gion Festival in summer) so catching them on the streets of Gion in between performances is our best bet.

The Geisha in front of us
The Geisha in front of us

Riding our bikes, armed only with our mobile phones, instant cameras, and an unbelievable resolve to get close to a real geisha, we hoped for the best and we got the best. Our serendipitous encounter with the geisha’s driver feels like we were the best straw in a barn full of hay. When the driver saw us beating the crowds, (I think to him, we looked the most desperate) he told us where the geisha was and which door she’ll use as exit. His limo was parked about a few meters from the restaurants’ back door, in my mind, this was an act of good will on his part even though it may appear like he was squealing his boss’ whereabouts. But I am glad in whatever etiquette he decided to break, because we were able to get close to a real geisha as a result. Ayee hee hee.

The Geisha at the back street
The Geisha her back to us

After tens of blurred shots, I was able to capture this video and get up close.

I console myself that she’s busy and hurriedly wants to get away from us, that’s why she appears not too friendly. But I think this is really asking more from her since we kinda ambushed her. But all in all, this is a great encounter I will always remember when thinking about Kyoto.

Rurouni Kenshin 2014: Kyoto Inferno and The Legend Ends Review

I know. I know I promised that I will write a review of Kyoto Inferno right after watching the premiere. However, I was too preoccupied with a lot of things, namely my work life and my education life, that’s why this blog has been neglected. But since I didn’t write a review of Kyoto Inferno, I figured why not write a review together with The Legend Ends? Yes, you read it right. I just got back home from watching the second and last part of the 2014 Rurouni Kenshin live-action films. I also think that a back-by-back review is more fitting since the movie was conceptualized and created as a two-part masterpiece. Warning: *Major Spoiler Alert! 

Rurouni Kenshin: Kyoto Taika-hen るろうに剣心 京都大火編

The film started strongly with a visual of Shishio’s idea of inferno. Hajime Saito, formerly, the celebrated leader of the Shogun’s Shinsengumi goes to Shishio’s hideout and was welcomed fierily by Shishiogumi (Shioshi’s group). This is a very good opening scene that let’s us meet Shishio’s character for the first time showing us how menacing he has become. It also conveyed to us the central conflict of the film, by allowing Saito to become privy of Shishio’s plans of revenge against the new government.

Rurouni Kenshin: Kyoto Inferno English Poster courtesy of Warner Bros. Pictures Japan
Rurouni Kenshin: Kyoto Inferno

After this chaos and a backgrounder on why Shishio became the way he is, we are presented with Kenshingumi (Kenshin’s group) having fun at the village festival. Kenshin Himura, former hitokiri, former rurouni, and now a peace-loving citizen, enjoys a stage play starring his legendary past self – Battosai in a mockery aptly termed ‘Bakkyusai’. The cleverness of this scene is why I have loved director Keishi Otomo ever since I watched his other great work, a long drama series called Ryomaden. With this scene, we are presented with the sharp contrast of the promise of peace in the Meiji Period versus the turbulent years of the Bakumatsu when Kenshin served as a hitokiri to topple the Shogunate government and restore power to the emperor. But like Himura Battosai whose actions as hitokiri served a purpose and can easily be judged as wrong and shameful, we are presented with a Bakkyusai, who while serving the purpose of his comedic role on the stage is also misjudged by being portrayed a fool who doesn’t know what he’s doing. When Kaoru said that as Battosai, Kenshin is now a thing of the past, we know as viewers that Kenshin’s internal battles between his past and his present self is far from over. As this is only one of the very first scenes in the film, we are also told that this is only the beginning.

No Firefly Scene but More Love from the Characters

Rurouni Kenshin, apart from being a story of repentance and redemption, is about one man’s quest for peace amidst being the center of struggles against it. While Kenshin will always be the man who is the center of all the fighting and struggles, Kaoru is the center of peace. To me she is the embodiment of Kenshin’s ideal of peace. I think this is the reason why Rurouni Kenshin is also a romantic story. Like any Rurouni Kenshin fan, I wanted the firefly scene. But since I already know that I’m not getting any since Kenshin saying goodbye to Kaoru was shown in the film’s trailer, I was not disappointed. In place of romance, the film focuses on love for the other characters. Kaoru and her little dojo family with Sanosuke, Megumi, and Yahiko; Misao, Okina, and the Oniwanbanshu at Aoiya; Arai’s family, and even Shishio and his Juppongatana. We care more because each character acted based on their principles, each a victim of the turbulent times.

Kenshin says goodbye to Kaoru
Kenshin says goodbye to Kaoru. Photo courtesy of Warner Bros. Pictures Japan

One such character is Shinomori Aoshi. Aoshi is a unique film character because his character came too late. He was supposed to be part of Takeda Kanryu’s opium dealings but his character was left out in the first Rurouni Kenshin (2012) film. Kyoto Inferno felt this miss but not too much as to make him irrelevant. As a character with a vile purpose, we are left wondering and unconvinced about his internal motivations. It’s a good thing he was played by a good actor, Yusuke Iseya. An actor I have admired for his portrayal of sickly forward-thinking Choshu retainer, Takasugi Shinsaku in Ryomaden and talented boxer, Toru Rikiishi in Ashita no Joe. After watching The Legend Ends, I was glad that his character development came full circle. This is also true for the rest of the Juppongata members, although, understandably most of them didn’t get enough screen time.

Shinomori Aoshi faces Kenshin Himura.
Shinomori Aoshi faces Kenshin Himura. Photo courtesy of Warner Bros. Pictures Japan

Major Deviations from Anime (*Major Spoilers too!)

There are at least three major plot deviations from the anime in Kyoto Inferno. These plot deviations subsequently affected the events in The Legend Ends. One is the clever Bakkyusai addition discussed before, the second is Shishio’s Black Ship leaving for Tokyo unscathed by the end of the film, and the third worth mentioning is Kaoru being kidnapped. Otomo-san explained Kaoru’s kidnapping in one of the Manila interviews. He says that for him, it was a good way to end the first film while giving Kenshin more reasons to fight Shishio and what he stands for. It was a decision I readily welcomed. Kaoru was born towards the end of the Bakumatsu, thus as a character, compared to the broken people surrounding her, she is as pure as the ideal of a new Japan. In fact, I see her being kidnapped as a symbolic gesture of Shishio, ‘kidnapping’ the ideal of peace and the symbol of the restoration efforts of the government. Kenshin’s  jumping off the ship to save Kaoru also signals the end of the first part. This scene makes Kyoto Inferno different from two-part films like The Hobbit, which literally kept you hanging. It was indeed a good way to end the first part. I felt that people who don’t realize this most likely do not appreciate film as film.

Rurouni Kenshin from the first film up to the last two shown this year have great fight choreography. I’ve seen clips of actors rehearsing their moves and sword techniques and I am left in awe at the kind of dedication each of them put into the making of the films. The actors’ intense practices are reasons the film don’t rely much on CGI but on actual sword-fighting moves. Kyoto Inferno duels that are important to watch and pay attention to are between Kenshin and Sojiro, Aoshi and Okina, Kenshin and Cho.

Kenshin amidst Meiji Police. Photo courtesy of Warner Bros. Pictures Japan
Kenshin amidst Meiji Police. Photo courtesy of Warner Bros. Pictures Japan

Some Little Details

Since I watched Kyoto Inferno more than a month ago and only writing about it now, my head is kind of blurry about small details I want to talk about. So I put them all here before moving on to The Legend Ends. First off, Kenshin’s wardrobe. In the film, Kenshin is seen wearing three kimono colors, red, bluish-grey, and off-white. As expected, each color represents a part of Kenshin’s persona. His signature red kimono is what he wears as his present, peace-loving self, Himura Kenshin. The blue kimono is when he is struggling with his inner battles, between his present and his past hitokiri self. He alternates this with the off white kimono in The Legend Ends when he was training with his master Hiko. As the slasher-battosai Kenshin, he wears off-white. This is what he wore during the burning of Kyoto battles, and in the ship where he jumps off. Second little thing. Naoki Sato’s musical score is always the perfect complement to the scene as well as One Ok Rock’s theme songs played during end credits. Third. Sano is a breath of fresh air. His mere presence lights up a scene. It also helps much that I was smitten by Mune-san with his comedic antics during his Manila visit.

Sanosuke in The Legend Ends.
Sanosuke in The Legend Ends.

And now the legend ends…

Rurouni Kenshin: Densetsu no Saigo-hen るろうに剣心 伝説の最期編

Rurouni Kenshin: The Legend Ends English Poster courtesy of Warner Bros. Pictures Japan
Rurouni Kenshin: The Legend Ends Philippine Poster courtesy of Warner Bros. Pictures

Continuing from the last scene from Kyoto Inferno, The Legend Ends open with both Hiko Seijuro XIII and Kenshin 15 years ago when Hiko first met Kenshin when he was still a young boy named Shinta. Shinta was digging graves for all those who perished including the bandits who killed his companions. Master Hiko named him Kenshin (heart of the sword) as he decides to teach him his sword style, Hiten Mitsurugi-ryu. The next scene shows present-day, unconscious Kenshin wakes up in a hut by the woods. He remembers Kaoru and is tormented when he realized he wasn’t able to save her. In fact, saving Kaoru is not even mentioned in The Legend Ends. Even tough Kyoto Inferno ended as if Kaoru will turn into a damsel in distress, Otomo-san completely abandons this possibility. In fact, it was not Kenshin who saved Kaoru. And this is a good thing. Most inexperienced directors would take advantage of this plot development; some will get carried away, but not Keishi Otomo. Kaoru was saved and the news of it puts a smile on Sato Takeru’s face. As a character, Kaoru is not someone who need saving. She is good just the way she is.

Master and Student

I deliberately did not mention Takeru in my Kyoto Inferno review. In The Legend Ends, he convinces me once again that there is no one who can play Kenshin Himura as well as him. When he convinced his master, Hiko to teach him the secret technique of the Hiten Mitsurugi-ryu, his eyes swollen from his own tears heightened by the cinematic use of pouring rain, I wanted to plead with him. When he heard that Kaoru is still alive, his eyes twinkled with his face and I smiled with him. When he shared his life lesson to Aoshi, his eyes twitched and his cheekbones beamed, and I was as reflective. When he spouted intelligent words to Sojiro, his forehead flex a little, and I nodded with him. When he heard his own inner voice affirming his will to live, his eyes were drenched in tears, and I uttered to myself, finally. His facial expressions, his physicality, and his natural moves make this portrayal a truly magnificent one. Takeru Sato is Kenshin Himura.

Hiko Seijuro XIII with young Kenshin
Hiko Seijuro XIII with young Kenshin

Fukuyama Masaharu who played Kenshin’s master Hiko is no stranger to samurai roles. He played a charming samurai as Sakamoto Ryoma in Ryomaden. In The Legend Ends, he portrayed Hiko’s arrogance, quiet, reflective nature, fatherly care for Kenshin, and masterful sword fighting techniques with such finesse. My only qualm is removing the sacrificial passing on of techniques from master to student in the film’s storyline. What makes Amekakeruryu no Hirameki such a powerful technique is the fact that in order for a student to attain this, the master sacrifices his own life. Exploration of this would require more time, which I understand, the film cannot accommodate. How I wish they made The Legend Ends into a 3-hour epic.

Kaoru and Kenshin’s Scenes

Much of the subtlety and the implied meaning pertaining to Kenshin’s and Kaoru’s relationship is all dependent on Takeru’s acting. Because for some reasons unknown to me, the Legend Ends is wanting of Kenshin and Kaoru scenes together. While Kenshin is battling his inner demons, not even a flashback of Kaoru was included. When Kaoru announced to both Sano and Yahiko that they are coming back to Tokyo, and right after receiving the ultimate secret technique of his master’s sword style, minutes apart from Kaoru’s own pronouncement, Kenshin heads to Tokyo. As a viewer, I expected their paths to cross somehow. But no. Kenshin’s happiness as he finds out Kaoru is still alive, is only shown through Takeru’s acting. The very few Kaoru and Kenshin scenes together is the only flaw I have on watching this film.

One of the few scenes of Kaoru and Kenshin
One of the few scenes of Kaoru and Kenshin

While I ponder on this, some of the plot changes may have been the reason why this is so. In the anime, all actions take place entirely in Kyoto, while in these two film versions; the first one is in Kyoto while the Legend Ends takes place in a town near Kyoto and in Tokyo where Shishio is. The second reason I guess is that Otomo-san wanted to isolate Kenshin to emphasize his inner struggle and his resolve to understand his self on his own. I am on the verge of thinking; will a film device like a flashback or an insert shot of Kaoru showing that she is in Kenshin’s mind essential for emphasis? As I said, the film relied mostly on Takeru’s acting to show us the change in his character and how his relationship with Kaoru affects his will to live. While Takeru’s acting is great, the romantic in me would still want at least one scene of them together before Kenshin’s ‘execution’.

The Fight Scenes

Aside from Kenshin’s battle with Shishio, one battle I look forward to is his battle with Seta Sojiro. Sojiro is one character whose inner battles deserved more exploration because of his complex nature. However, in the Legend Ends, internal character conflicts are resolved with one or two battles. In fact, one battle with Kenshin is what Aoshi needs, complemented by Okina and Misao’s efforts to save him.

Seta Sojiro faces Kenshin Himura. Photo courtesy of Warner Bros. Pictures Japan
Seta Sojiro faces Kenshin Himura. Photo courtesy of Warner Bros. Pictures Japan

I think Otomo-san cleverly exposed this absurdity in Kenshin’s battle with Sojiro by making Kenshin say, “If all our problems can be solved by one or two battles, then no one would ever go wrong.” And my mind lit up for Aoshi’s and Sojiro’s inner conflict. This is exactly what the film is doing. But by making the main character comment on it, somehow, I willingly accept both Sojiro and Aoshi’s conflict as resolved.

The epic battle between Kenshin and Shishio. Photo courtesy of Warner Bros. Pictures Japan
The epic battle between Kenshin and Shishio. Photo courtesy of Warner Bros. Pictures Japan

The final battle between Kenshin and Shishio is absolutely perfect. I like the fact that it was done almost like the anime version. I will not attempt to describe what happened because my eyes can’t keep up with their fast moves. I’ll just say, everyone who’s supposed to be there battled Shishio, Shishio’s sword is on fire, and Kenshin executes his final attack, Amekakeru-ryu no Hirameki. The best thing I can say really is, just go watch it! With this fight sequence alone, The Legend Ends live up to its worth.

More True to Life

I think that the main reason why the Rurouni Kenshin films are magnificent is because they are true to life. Characters are not in the realm of anime and manga anymore. They are the breathing representations of people who have lived during the Meiji Period. The film gives emphasis on the Meiji Government, adding a character not in the anime, Minister Ito. His first task as ordered by Shishio is to execute Kenshin. Together with Saito-san and the leaders of the new Meiji government, he devices a plan to role-play the execution and get to Shishio. Kenshin’s supposed execution is important to the plot because we see right before our eyes that Shishio is not as mad as he is portrayed. The government is about to commit the same injustice awarded to him in the person of his sempai, Kenshin Himura, the Battosai. We understand Shishio more and the people are confronted with a question, can we trust this new government?

The ideal of peace against the fragile foundations of the new government is the back draft of the Rurouni Kenshin films. Because the films are more true to life, we are more immersed to the milieu, more invested with the characters – making us travel back in time, in a world greatly different from ours.  And we enjoyed our wonderful journey. I know I did. 🙂


Kenshin Himura: Takeru Sato
Kaoru Kamiya: Emi Takei
Sanosuke Sagara: Munetaka Aoki
Megumi Takani: Yu Aoi
Yahiko Myojin: Taketo Tanaka
Hajime Saito: Yosuke Eguchi
Aoshi Shinomori: Yusuke Iseya
Nenji Kashiwazaki: Min Tanaka
Misao Makimachi: Tao Tsuchiya
Soujiro Seta: Ryunosuke Kamiki
Yumi Komagata: Maryjun Takahashi
Makoto Shishio: Tatsuya Fujiwara
Toshimichi Ookubo: Kazufumi Miyazawa
Ito Hirobumi: Yukiyoshi Ozawa
Cho Sawagejo: Ryosuke Miura
Misao Makimachi: Tao Tsuchiya
Hoji Sadojima: Kenichi Takito
Anji Yukyuzan: Tomomi Maruyama
Usui Uonuma: Mitsu Murata
Kamatari Honjo: Hiroko Yashiki
Saizuchi: Kentaro Shimazu
Fuji: Kota Yamaguchi
Seijuro Hiko: Masaharu Fukuyama

Director: Keishi Ohtomo
Executive Producer: William Ireton
Producer: Shinzo Matsuhashi
Original Comic: Nobuhiro Watsuki
Screenplay: Kiyomi Fujii and Keishi Ohtomo
Cinematography: Takuro Ishizaka
Production Designer: Sou Hashimoto
Action Director: Kenji Tanigaki
Music: Naoki Sato

Planning and Production: Warner Bros. Pictures Japan, Studio Swan
Theatrical Distribution: Warner Bros. Pictures Japan
International Sales: Gaga Corporation

© Watsuki Nobuhiro/ Shueisha. © 2014 “Rurouni Kenshin” Production Committee


Running Time: 139 Minutes
Screen Size: 2.35:1
Japanese Theatrical Release: August 1, 2014


Running Time: 135 Minutes
Screen Size: 2.35:1
Japanese Theatrical Release: September 13, 2014

Rurouni Kenshin るろうに剣心 京都大火編 Manila Premiere

Rurouni Kenshin: Kyoto Taika Hen るろうに剣心 京都大火編  Manila Premiere will be held tomorrow, 6 August 2014 at SM Megamall. The premiere night will be attended by stars Takeru Satoh, Emi Takei, and Munetaka Aoki with Director Keishi Ohtomo. I was one of the lucky people who won passes to the event. I will be writing a film review after watching. 🙂

UPDATE! – Review of Rurouni Kenshin Kyoto Inferno and The Legend Ends si here.

Rurouni Kenshin Kyoto Taika Hen Premiere Night in Manila on August 6, 2014
Rurouni Kenshin Kyoto Taika Hen Premiere Night in Manila on August 6, 2014


Save Money Using Train Passes While in Japan

Public transport in Japan is great. I will even go as far as saying that the train service in Japan is the best in the world. Trains run smooth and they are always on time. The only caveat is that the price of a shinkansen ride (most of the time) is more expensive than a good deal on an airline. To give an example, a shinkansen ride from Tokyo to Shin-Kobe in about 3 hours, is 15,110 yen via Nozomi, the fastest and most expensive shinkansen line. An air ticket from Haneda to Kobe via Skymark is only at 8,900 yen. An ANA deal offers about 10,000 yen airfare. While trains are convenient, it is no doubt expensive. Good news is that in Japan there are different types of train passes that lets you save more of your hard earned yen. Information below is based on my trip to Japan for 15 days and the train passes I used.

Japan Rail Pass

JR Pass, Kintetsu Rail Pass, and ICOCA card
JR Pass, Kintetsu Rail Pass, and ICOCA card

When you are traveling with a tourist visa,  Japan Rail offers the Japan Rail Pass for 7-day, 14-day, and 21-day duration. During my 15-day Japan trip covering cities of Kansai region (Osaka, Kyoto, Nagoya, Kobe), Chubu region (Takayama, Shirakawa-go), Kantou region (Tokyo, Kanagawa) in the island of Honshu and the northernmost island of Hokkaido (Sapporo, Otaru, Asahikawa, Hakodate), I bought the 7-day JR Pass. Why 7 days for a 15-day trip? It’s because I used a combination of train passes. I used 3 passes – the ICOCA-Haruka pass of JR West, Kintetsu Rail Pass and JR Pass. Attached below is my detailed train itinerary with the actual cost of the train fare. As you can see in the table, I saved 60,000 yen (about $600) because of using these train passes.

Train Itinerary - Day 1 to 7
Train Itinerary – Day 1 to 7

ICOCA-Haruka is a pass offered by JR West, which includes ICOCA IC card pre-charged with 1500 yen and reduced fare for Kansai Airport Express “Haruka”. The Kansai-Airport Express HARUKA provides direct access from Kansai Airport to Tennoji, Shin-Osaka and Kyoto.

Train Itinerary - Day 8 to 12
Train Itinerary – Day 8 to 12
Train Itinerary - Day 12 to 15
Train Itinerary – Day 13 to 15

As you can see from the table, my first day of use for the 7-day JR Pass is on Day 7 of my trip. This is because I opted to use a different rail pass from Kintetsu Railways to explore Kansai and Chubu regions. I used Kintetsu Rail to go to Nara and Nagoya.

You can plan your train rides using websites like This website publishes train times and indicates fare. I’ve used this site all the time and it is very accurate.

You can view the excel file here – Japan Trip-29Jan-12 Feb Train Itinerary

Plan your itinerary in such way that you can make full use of your train pass. To do this, get information on train passes offered by major railway companies like, Japan Rail or Kintetsu Rail. Also, check out the main railway company in the region you’re visiting and see if the train pass they offer are valuable for your chosen itinerary. If you are planning to stay on only one area, you can opt to use regional train passes for that area. Buy only the JR Pass if your itinerary involves long distance trips to two different areas, specially areas only serviced by JR train.

The Picturesque Otaru Canal

Night lights, snow fall, quaint shops, small corridors, and canals are  great elements to create a perfect evening stroll. This is exactly what I was aiming at when I went to Otaru.

View from JR Otaru Station
View from JR Otaru Station

It was February and the peak of winter when I was in Otaru. Coming from Kobe airport, we took a flight via Skymark to Sapporo. After checking in in our hotel in Susukino-Minami, we headed to JR Sapporo Station and took a train to Otaru.  From Otaru station, we took a bus, ideally getting off near the canal. But we got lost. And this is one of those days that I’m glad I’m in Japan because when you’re in a fix, trust that help is on the way.

Thick snow on the train platform at Otaru Station
Thick snow on the train platform at Otaru Station

We are walking in extremely cold weather. Google maps is not working; the snow does not give any signs of stopping, and the sun is fading quietly in the distance.  There are only a few souls walking on the street but no one can be as lost as we were. I was shivering, my left glove gone, and a tad disappointed that the music box museum was already closed. To be honest, I didn’t have the will to continue. Just kidding, I was okay after a can of hot Suntory chocolate from my friendly vendo. Long story short, I approached an old lady to ask for directions. But because I don’t understand her and pretended to understand a bit; I mean, to be polite, I need to show that her efforts are not wasted. She’s a true angel, this Obasan, and understanding that I didn’t understand, she offered to go with us, together. We headed on the opposite direction and she walked with us for about 500 meters just to see for herself that we won’t get lost again. Realizing this, I was touched and deeply moved.

Because of the weather, I only managed to take a few photos of the canal.

Otaru Canal
Otaru Canal
Panorama Shot of Otaru
Panorama Shot of Otaru Canal

I was glad I went to Otaru even if I missed out on some of the attractions of the place. Because what I gained is far more important than visiting various places – I was reminded again and again of the goodness of people, how one can easily show another that caring is still what makes us human.

The Way of Writing, Getting into Japanese Calligraphy

I started shodo 書道 literally, the ‘way of writing’ as a hobby even though I don’t understand the Japanese language. In a way, I started calligraphy so I will be able to understand the language. Pretty practical, don’t you think?

Just to give an idea on my Japanese language learning progress, I can safely say that I can recognize about 1000+ kanji with their English meaning but I’m still learning onyomi and kunyomi readings of each. I may or may have added a few more kanji, but these 1000+ I already know the stroke order so I can safely write them using brush.

A very rough sumi-e (ink painting)
A very rough sumi-e (ink painting)

I have been practicing writing using an ordinary pen (ball pen or pencil) and paper when I bought my first Japanese calligraphy set. It just so happen that when I was walking on the streets of Nara, just outside Nara Park, I happen to pass by a calligraphy shop. (The shop is called Susukawa Bunrido at Sanjo-dori). My friend who was into calligraphy (Roman letters), wanted to see their collection of brush pens, so we went inside. Little did I know that I will not leave that store empty handed. They had on sale a Japanese calligraphy set for 3000 yen. It’s a plastic box that contains, 2 fude brushes, sumi ink (ink stick), suzuri, bunshin, and a container for water. I only found out the names and purpose of these things later on. The shop attendant told me that I also need a shitajiki (soft felt mat) and of course, hanshi (thin calligraphy paper). So I also bought them, for another 1000 yen. I don’t know what was on my mind but when I laid my hands on these things, I just knew I have to have them.

3000 yen calligraphy set with folded shitajiki
3000 yen calligraphy set with folded shitajiki

in-calligraphy set Trying it Out

The first thing that I did when I got back to the Philippines is try my hand at using the calligraphy set. Once I knew what each of the things inside the box does, I proceeded in using them. Of the two fude brushes included in the box, I was surprised that I had a better grip with the bigger one. I can even control it and use with smaller strokes. This brush is sold on its own at 840 yen so I guess it is of better quality.

Using the bigger brush, I was surprised I was able to create small characters
Trying out different styles; using the bigger brush, I was surprised I was able to create small characters
The 2 brushes included in the set
The 2 brushes included in the set

The most challenging thing for me now is to find myself a teacher. Of course I can always follow stroke order from animations available in various apps or YouTube videos but the comment and advise from a calligraphy teacher is the only way of knowing that I’m getting this right. I don’t even know if there is such a person in the Philippines. So I guess I have to enroll in a calligraphy class when I get back to Kyoto or Tokyo.

Calligraphy Brushes in Tokyu Hands
After Nara, I’ve been on the look out for Calligraphy tools, these are from Tokyu Hands in Sapporo
Ink Stick & Suzuri
The sumi (ink stick) & Suzuri

To close, what I really enjoyed most about this hobby is the relaxation it brings me. Preparing the ink from the ink stick, while patiently grinding on the suzuri takes time and I find myself entering a state of calmness and deep thought. It has also been a great way to familiarize myself with Kanji. When I get confident with my work, I’ll post some of them here. In the meantime, I will continue to practice and maybe soon I can go back to Japan and sit in an actual calligraphy class.  がんばろうシーラ!