Mount Fuji, deeply loved by the Japanese people, is admired for its symmetrical beauty and sense of stability. It has been a motif in various works of art and has recently attracted many foreign tourists, contributing to its lively atmosphere.

“Akafuji” by KATSUSHIKA Hokusai

“Kanagawa oki namiurai” by KATSUSHIKA Hokusai

Recognized as a UNESCO World Heritage Site as a symbol of Japan, its history as such is surprisingly recent. It was designated as a World Heritage Site in 2013, twenty years after the first site in Japan, the “Buddhist Monuments in the Horyu-ji Area” in Nara Prefecture, which was designated in 1993.

In 1992, the “Council for Making Mount Fuji a World Heritage Site,” composed of nature conservation groups from Yamanashi and Shizuoka prefectures, was established. Despite efforts like signature campaigns, environmental degradation caused by constant trash and human waste from climbers prevented it from being nominated as a ‘World Natural Heritage’ site during domestic reviews.

Google 画像検索結果: https://mtfuji.nyanta.jp/pic3/pic-jam03.jpg

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Consequently, the target was shifted to ‘World Cultural Heritage,’ and in 2013, this long-held ambition was realized with Mount Fuji’s registration as a World Heritage Site.

Historically, Mount Fuji has been a focal point of faith since ancient times. From the Edo period to the early Showa era, a simple teaching that involved worshipping Mount Fuji, devoting oneself to its spirit, and expressing gratitude became widespread among common people. This faith, known as ‘Fujiko,’ is depicted in UTAGAWA Hiroshige’s “The Fifty-three Stations of the Tokaido.” Practitioners would visit Mount Fuji, worship at the main Fuji Sengen Shrine, and then perform ascetic practices like the Fujiko Hakkai Meguri.

“Toukaidou gojyu-san tsugi” Hara by UTAGAWA Hiroshige

It’s worth noting that while some cultures interpret mountain worship as primitive faith, in Japan, it is understood not merely as animism but as part of the belief in ‘Yaoyorozu no Kami’ (Eight Million Gods). In this context, I encourage foreign visitors to consider why this mountain has been worshipped by the Japanese people.

That said, regardless of the various rationales, many Japanese people rejoice and take photos when they see Mount Fuji. As IWAYA Sazanami wrote, “Fuji is Japan’s greatest mountain.”

In public bathhouses “Sentou”, which served as a place of relaxation for the common people and a place for social interaction, there were almost always various paintings of Mount Fuji. It may be difficult to find them now.

100 Best Japanese Songs

The song “Mushi no koe,” published as a Ministry of Education song in 1910, celebrates the rich and varied sounds of insects chirping in the autumn grass. This song embodies the unique Japanese aesthetic sense of “furyu,” which appreciates the elegance of nature. While in the West, insect sounds are often considered noise, in Japan, they have long been cherished as a refined way to enjoy the arrival of autumn.

For Japanese people, the sounds of insects are not just noises but essential elements that signify the change of seasons. This sensitivity is frequently depicted in ukiyo-e (Japanese woodblock prints), which often feature insects and their habitats. In Kanazawa’s Higashi Chaya District, traditional teahouse buildings with beautiful lattice windows called “kimusuko” remain. The term “kimusuko” itself, meaning “wooden insect cage,” symbolizes elegance and reflects the Japanese aesthetic that values the sounds of insects. Such architectural designs also illustrate the Japanese appreciation for the beauty of insect sounds.

歌川広重 – Online Collection of Brooklyn Museum; Photo: Brooklyn Museum, 41.469_IMLS_PS3.jpg, パブリック・ドメイン, リンクによる

A machiya with a “kimusukago” design, characterized by fine, regular slits that look like insect cages. At Higashi chayamachi , Kanazawa.

The song’s lyrics use onomatopoeia to vividly express the sounds of insects, creating a unique rhythm and resonance that deeply touches the listener’s heart. For instance, the phrases “chinchiro chinchiro chinchororin. Rinrin rinrin riinrin.” and “kirikiri kirikiri kirigirisu. Gachaya gachaya gachaya gachaya kutsuwamushi. Chon chon chon chon suitchon.” are used. However, there is an anecdote about how the scientific observation that “kirigirisu (katydid) does not chirp ‘kiri kiri,’ but it is the cricket that does” led to a correction in the lyrics, demonstrating an intriguing conflict between scientific accuracy and literary expression.

However, the advancement of modernization and urbanization has led to a decline in the appreciation of such elegant sensibilities. The increase in residential areas and environmental changes have reduced the habitats of insects, making it harder to hear their sounds. Despite this, there has been a recent resurgence of interest in this refined pastime, driven by a return to traditional Japanese values.

松岡明芳 – 投稿者自身による著作物, CC 表示-継承 3.0, リンクによる

“Mushi no koe” is a song that reminds us of the Japanese spirit of elegance. Through this song, we hope to help people rediscover the beauty of nature and the changing seasons, and revive the fading appreciation for these subtle natural sounds.

The song Ryoshuu, beginning with “Fukeyuku aki no yo, tabi no sora no” (“Autumn night deepens over the journeying sky”), was adapted into Japanese by lyricist INDOU Kyuukei in 1929 and remains a beloved classic in Japan.

John P. Ordway

The original song, Dreaming of Home and Mother, was composed in the 19th century by John P. Ordway, and its melancholic melody and lyrical lyrics evoke a unique sense of nostalgia and travel-worn longing that resonates deeply in the Japanese spirit.

INDOU is said to have first encountered the song while working as a music teacher at a girls’ school in Niigata. Far from his own hometown in Kumamoto Prefecture, he adapted the lyrics with his own feelings of homesickness in mind. This sense of longing for home weaves through the song’s melancholy melody, bringing to life universal themes that reflect the journey of life itself.

The opening line, “Fukeyuku aki no yo, tabi no sora no,” beautifully captures the heart of a traveler, reflecting on home as they journey through a quiet autumn night. Autumn, poised between summer’s vibrancy and winter’s calm, symbolizes a season of maturity and solitude. This seasonal mood, coupled with the loneliness of travel, enriches the song’s poignant, universal emotions of yearning and nostalgia.

Ryoshuu has long transcended its role as a simple “travel song.” It is beloved not only in Japan but also in China and Taiwan, where it is sung with unique local lyrics. Its themes—travel, homeland, and the passage of life—resonate across cultures, making the song widely cherished throughout East Asia.

Its popularity endures to this day, and it was selected as one of the “100 Best Japanese Songs.” Indō’s hometown in Kumamoto Prefecture has even built a memorial museum in his honor, celebrating his legacy and contribution to Japanese music.

It depicts the joy of snowfall from a child’s point of view.

The song is a cheerful depiction of snow falling in a rhythmic, incessant manner.
As the lyrics of the second verse suggest, the dog running happily around the yard can be compared to a child, and the cat curled up against the cold in a kotatsu, a table-type heater that has been loved in Japan for centuries, can be compared to an adult.

The official world record for the deepest snowfall, by the way, is about 12 meters, which was observed on February 14, 1927, at the weather station on Mount Ibuki (1377 meters above sea level) in Maibara, Shiga Prefecture, Japan. It is almost the same height as the Ootorii (second shrine gate) of Meiji Jingu Shrine.

By 江戸村のとくぞう (Edomura no Tokuzo) – Own work, CC BY-SA 3.0,

The Tea-Picking Season Heralding Early Summer

“Cha-tsumi” is a famous Japanese song that depicts the season from late spring to early summer. The “tea” mentioned in the song refers to Japanese tea. Japan’s representative “green tea” is an unfermented tea that doesn’t undergo fermentation, which has the benefit of preserving the natural freshness and nutrients of the tea leaves while retaining abundant antioxidants. In contrast, “Oolong tea” is semi-fermented, and “black tea” is fully fermented, all made from leaves of the same “tea plant.” These young leaves plucked from tea plants transform into our familiar beverages through various processing methods.

Qwert1234 – Qwert1234’s file, パブリック・ドメイン, リンクによる

The Significance of “Hachijyu Hachiya” and Agricultural Culture

The “Hachijyu hachiya (Eighty-Eighth Night)” sung in this song refers to the 88th day after “Risshun” (Beginning of Spring), one of the twenty-four solar terms, when the weather stabilizes, making it easier for tea picking. This important agricultural milestone, usually falling around May 2nd each year, signals the full-fledged beginning of farming activities. During this period, there is a risk of late frost called “Osojimo” occurring from chilly nights to dawn, potentially damaging crops. Despite this frost risk, tea picking is conducted during this time because the new buds contain the richest umami components and nutrients like catechins, producing aromatic high-quality tea leaves. Moreover, this “first flush” tea harvested during this period is particularly valuable and serves as a crucial source of income for tea farmers. A few days after Hachijyu hachiya comes “Rikka” (around May 6th), the beginning of summer according to the calendar. The song gently conveys the arrival of an extremely busy season for farmers.

painted by 長谷川等伯, calligraphy by 春屋宗園 – 1. Brill.com [1], 2. Omotesenke.com [2] , Omotesenke Fushin’an Foundation, パブリック・ドメイン, リンクによる

Tea Culture and Its Historical Development

The culture of enjoying tea has a long history, dating back to the reign of Emperor Shoumu in 729 AD, as recorded in ancient texts. Initially, it spread widely among the warrior class and became material for feasts. However, the concept of “Wabi-cha,” which sought simplicity and the spirit of Zen, emerged, leading to the spread of “Cha-no-yu” by figures like Sen no Rikyu. This tradition has been passed down to modern times as “Sa-do” (the Way of Tea).
In Sa-do, Matcha—now popularly used in chocolates and ice cream—is served as ground tea leaves. On the other hand, Sencha, which uses whole leaves without grinding, is commonly sold even in PET bottles. Naturally, the price varies greatly depending on the quality of the leaves and processing methods. Japanese tea culture has thus evolved with the times while maintaining its essential values.

不明 – “Letters from Japan” by Mrs. Hugh Fraser, New York, The Macmillan company; London, Macmillan & co., ltd.. 1904, パブリック・ドメイン, リンクによる

Origins and Spread of the Tea-Picking Song

According to one theory, this song is said to have roots in Uji City, Kyoto Prefecture, and the parts enclosed in quotation marks are considered citations from tea-picking songs sung there since ancient times. However, even after research by local historians, there is still no evidence to support this claim. Since tea harvesting requires intensive labor, there have always been migrant workers known as “Chatsumi musume” (tea-picking girls). As the timing of harvesting varies from region to region, it’s also speculated that the song spread gradually as workers moved from early harvesting areas to later ones.
This song is also known for its rhythmic nature, often accompanied by hand movements, and enjoyed in places like kindergartens and elderly care facilities. Its simple yet pleasant rhythm has become an important cultural asset that remains in the hearts of Japanese people across generations.

Tea-Producing Regions Throughout Japan

While Shizuoka Prefecture is famous as a tea-producing region, places like Yame in Fukuoka Prefecture, Chiran in Kagoshima Prefecture, and Sayama near Tokyo in Saitama Prefecture are also well-known. The soil and climate conditions of each region produce teas with distinctive flavors. In modern times, these traditional tea-producing areas have also gained attention as tourist destinations, with increasing numbers of visitors enjoying tea-picking experiences and the scenic beauty of tea fields. Japanese tea has transcended being merely a beverage to become a symbol embodying Japan’s natural features and culture.

100 Best Japanese Songs.

This is the third most famous tea plantation in Japan, closest to Tokyo.

Historical Origins and Publication

In 1910, following the conclusion of the Russo-Japanese War, the beloved children’s song “Ware wa Umi no Ko” (I am Child of the Sea) was first published in “Jinjou shougakkou tokuhon shouka,” an official songbook designed for elementary school students of that era. This publication marked the beginning of what would become one of Japan’s most enduring and musical heritage, capturing the essence of Japan’s deep connection to the sea.

The song emerged during a period of significant national transformation, when Japan was establishing itself as a modern maritime power. The timing of its publication was particularly meaningful, as it reflected the country’s growing awareness of its oceanic identity and the importance of maritime culture in shaping the Japanese national character. The song quickly gained popularity in schools across the nation, becoming an integral part of children’s musical education and cultural heritage.

Russo-Japanese War (Public Domain)

The Mystery of Authorship

Due to the educational policies of the Meiji era Ministry of Education, which deliberately concealed the identities of authors to maintain the perceived objectivity of educational materials, “Ware wa Umi no Ko” was officially classified as “author unknown” for many decades. This anonymity shrouded the song in mystery and contributed to its folk-like quality, as it seemed to emerge organically from Japanese culture itself.

However, this mystery was eventually solved during the Heisei era (1989-2019), when compelling evidence emerged pointing to the song’s true creator. Based on artifacts and documentation presented by surviving family members, scholarly consensus now widely accepts that the lyricist was MIYAHARA Kouichirou, a poet and educator of the Meiji period. This revelation added a human dimension to the song’s history while highlighting the collaborative and often anonymous nature of Japan’s cultural creation during the early modern period.

Cultural Significance and Maritime Identity

The song stands as a vivid and poetic portrayal of a young boy born and raised in a traditional Japanese fishing village, embodying the robust physical strength and resilient spirit that characterizes Japan as a quintessential maritime nation. The lyrics paint a picture of coastal life that resonated deeply with the Japanese experience, celebrating the connection between the people and the sea that surrounds their island nation.

Originally, the complete song consisted of seven verses, with verses four through seven depicting the protagonist’s evolution into a military serviceman actively serving on the seas. These later verses reflected the militaristic spirit of early 20th-century Japan and the importance of naval power in the nation’s identity. However, following Japan’s defeat in World War II, these martial verses were removed by the General Headquarters (GHQ) of the Allied occupation forces as part of the broader demilitarization efforts.

The song subsequently disappeared from school textbooks for an extended period, not only due to its military associations but also because its classical Japanese wording had become increasingly difficult for modern children to comprehend. The language gap between Meiji-era Japanese and contemporary speech patterns made the song less accessible to new generations. It wasn’t until 1958 that “Ware wa Umi no Ko” was officially restored to educational curricula, though only the first three verses were reinstated, focusing on the innocent portrayal of coastal childhood rather than military themes.

Japan’s Oceanic Geography and Enduring Legacy

Japan’s profound connection to the sea, as celebrated in this song, is rooted in remarkable geographical facts. According to the 2004 edition of Japan’s official “Coastal Statistics,” the nation boasts a coastline stretching 35,297 kilometers, ranking as the sixth longest in the world. This extensive maritime boundary is made even more remarkable by Japan’s unique geographic position, spanning from subarctic regions in the north to subtropical zones in the south, creating an extraordinary diversity of oceanic landscapes and marine ecosystems.

This geographical diversity manifests in stunning contrasts: from the drift ice seas of Hokkaidou, where ice floes create ethereal winter seascapes, to the vibrant coral reefs of Okinawa, where tropical fish display brilliant colors in crystal-clear waters. Each region offers distinct marine environments that have shaped local cultures, traditions, and ways of life. Japan’s renowned food culture owes much to these oceanic riches, with each coastal region developing unique culinary traditions based on local seafood specialties. When visitors explore fishing villages throughout Japan, they encounter an incredible variety of distinctive marine products, from Hokkaido’s sea urchin and crab to Kyushu’s yellowtail and sea bream.

Fishing Village

Despite the passage of more than a century since its creation, “Ware wa Umi no Ko” continues to touch hearts with its plaintive melody and evocative lyrics that capture the essence of Japan’s maritime soul. The song’s enduring appeal and cultural significance were formally recognized when it was selected as one of the prestigious “100 Best Japanese Songs,” cementing its place in the nation’s musical heritage. Today, it serves not only as a nostalgic reminder of Japan’s coastal traditions but also as a bridge connecting modern Japanese people with their maritime roots and the timeless relationship between the Japanese people and the sea that has shaped their civilization for millennia.

The song titled “The Village Blacksmith” was sung until the late Showa era, long after the profession of blacksmithing had ceased to be a part of everyday life.

663highland – 投稿者自身による著作物, CC 表示 2.5, リンクによる

The reason for this persistence isn’t entirely clear, but perhaps the song’s lively rhythm was deemed fitting for children’s musical education.

Though the lyrics depict the blacksmith as someone who forges plows and hoes as agricultural tools, originally, the roots of blacksmithing were likely tied to swordsmithing. Japan has traditionally had a culture centered around blades, evident even in the popular anime “Demon Slayer,(Kimetsu no yaiba)” showcasing the pride associated with crafting the katana and wakizashi, swords worn at the waist of the samurai, the highest social class during the Sengoku period.

With the end of the samurai era and further declines due to mechanization, the demand for plows and hoes as agricultural tools drastically decreased. However, a few blacksmiths still remain scattered throughout Japan, supporting local farmers to this day. Moreover, the “art of blade-making” has also been an integral part of supporting Japanese culinary culture.

The “traditional watchman” standing in the rice fields

The Kakashi, Japanese scarecrows, which can be called an essential “character” in the landscape of Japanese rice fields, is not only important for its practical use in rural areas but also holds deep symbolic meaning rooted in spiritual and cultural traditions. Practically speaking, Kakashi have been placed in rice paddies mainly to protect crops from crows and sparrows. However, in Japanese folk beliefs, they are said to serve as the yorishiro (temporary vessel) of the ta no kami (rice field gods). In rural communities, pest damage from birds and animals was not seen as a mere natural issue but was believed to be caused by malevolent spirits. The Kakashi were thought to possess the power to ward off such spirits. Additionally, the practice of dressing the Kakashi in straw coats and hats symbolized their role as visitors from the gods or the other world, indicating that they were revered as sacred beings rather than mere scarecrows. In this way, the Kakashi were regarded as the incarnations of the ta no kami(rice fields gods) or yama no kami (mountain gods), serving as sacred protectors of the fields.

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You’ll Even Find Them in Folktales

The fact that the Kakashi simply stands there, doing nothing, sometimes leads to it being dismissed as “useless,” as even children tease it in songs. Yet, in the context of agricultural society, it played a crucial role. People felt a sense of security and familiarity in the very presence of the Kakashi, which can be seen as a guardian silently watching over the community. This mindset is also reflected in characters like Yotaro from rakugo, who, despite his incompetence, is loved by those around him. In Japanese culture, there is a deeply ingrained attitude of accepting and respecting things, even if they appear useless.

So Familiar, Yet a Bit Uncanny

Scarecrows can be found in other countries as well, but in the West, their function is more practical. Many scarecrows are equipped with moving mechanisms or devices that make sounds to scare off birds and animals, and they are often designed to increase visual deterrence using reflective materials or materials that sway in the wind. In the West, the scarecrow is less a sacred figure and more a tool designed for the efficient protection of crops. Moreover, in Western stories such as The Wizard of Oz, scarecrows are often depicted as characters with personalities, symbolizing the search for wisdom and emotions.

Still Standing as a Symbol of Rural Japan

In contrast, Japanese Kakashi are characterized by their stillness and silence, carrying the sacred role of protecting the fields. The spiritual power imbued in the seemingly powerless Kakashi, and its symbolism as a protector of the community, reflects Japan’s unique perspective on agriculture, nature, and spirituality.

In Japan, “New Year’s” is an incredibly significant seasonal celebration. It marks the start of the year and serves as a chance for a fresh mental and physical reset.

To welcome “Toshigamisama,” the deity of the New Year, people adorn their homes with “Kadomatsu” on auspicious days at the year’s end, prepare “Kagamimochi” and ceremonial sake, all in readiness for the welcoming ceremony. From New Year’s Day until the 3rd, known as “Sanganichi,” it was customary for families to peacefully spend time with Toshigamisama. Until the 1970s, shops would uniformly close, allowing homemakers to prepare “Osechi Ryouri,” dishes that could be made in advance, as they wouldn’t need to work during that period. Families would gather around the kotatsu, enjoying mandarins, visiting relatives and friends to exchange New Year’s greetings, while adults would share “Osechi Ryouri,” and sake from noon… that was the norm back then, an era without convenience stores like today.

Relatives living apart would also come together, and children eagerly awaited receiving “Otoshidama,” a New Year’s gift of pocket money. Cousins would gather, engaging in activities like flying kites, spinning tops, or playing “Hanetsuki” – an era without video games.

Traditionally, until the 15th in the new year, or shortened to the 7th in the Kanto region, “Matsunouchi” was observed. It’s a period where Toshigamisama is entertained at home, before gradually returning to the routine as the cold winter persists.

This song beautifully portrays the anticipation of children eagerly awaiting such “New Year’s” celebrations, expressed in simple yet heartfelt words, making it a timeless and cherished song sung across generations. HIGASHI_Kume, the lyricist, is known as the first person in Japan to write lyrics in colloquial language.

Selected as one of the”100 Best Japanese Songs”.

By the way, “Gantan” and “Ganjitsu” are often used interchangeably, but the character “Tan” is said to represent the rising sun depicted by a single horizontal line beneath the sun, signifying the morning of New Year’s Day.