Edo (17th-19th c.) Era scroll painting.
“If you would be happy for a lifetime, grow chrysanthemums.” –Chinese saying
Introduced from China in the late 8th c, the chrysanthemum holds special cultural significance. First grown as a medicinal herb to promote health and longevity, numerous cultivars in a range of colors and forms were developed with blossoms symbolizing “unfolding perfection.” The Imperial Family claimed the single, sixteen petaled blossom as its crest (Kikumon), leading to its epithet, the Chrysanthemum Throne.
Decorative boss on a Samurai helmet features chrysanthemums.
Sixteen petal blossom gable decoration at Nijo Castle, Kyoto.
Bold carvings on Niomon Gate, Tosho-gu Shrine, Nikko.
Annual display at Nijo Castle, Kyoto.
During the late 19th c., public chrysanthemum exhibitions displayed highly stylized arrangements of plants in honor of the Imperial Family. The tradition continues today with the Festival of Happiness celebrated at the peak of bloom. Strict rules govern the forms, colors, and method of display to show blossoms to their best advantage. The following images are all from Shinjuku Gyoen National Garden, Tokyo.
In the Ogiku bed, 39 cultivars are represented by 311 plants of arranged in diagonal stripes.
The Kengai style features cascading cultivars that mimic wild cliff-growing plants.
A detail of the bamboo, branch, and metal structure supporting the cascade.
Grown from a single root division in one year, the Ozukuri style resembles a perfect flowering tree.
The elaborate training structure for the “thousand blooms” chrysanthemum rises above the single stem emerging from the container.
This young lady at Kiyomizu Temple, Kyoto, wears kimono boldly decorated with chrysanthemums, showing the continued importance of the motif even in contemporary textile design.
Rain blew horizontally in gusts over 65 mph as Typhoon Chaba passed on Oct 30, so I was glad that the Oedo Line stopped near the entrance to this fantastic museum.
Scale model dioramas of traditional city scenes were amazingly detailed.
From roof tiles, thatching, and eave decoration…
to interior timber framing and tiny painted screens…
meticulous courtyard gardens…
complete with koi ponds…
and exquisitely costumed inhabitants, one could spend hours enthralled with these exhibits.
A full scale reconstruction of a woodblock print shop.
A finely crafted wooden boat…
…that would have been part of this scene.
Geisha wigs with hair ornaments.
Shibori kimono with bamboo design.
Thousands of tiny dots created by hand-tied thread resist created the pattern.
Kabuki figure with towering platform shoes.
The roof lines of this model resemble the Frank Lloyd Wright designed tea house at the Palmer House. It’s striking to see the influence of traditional Japanese architecture on FLW designs; his 1905 tour and subsequent commissions in Japan formed an undercurrent to his distinctive aesthetic. Wright’s innovative use of concrete in the Imperial Hotel’s foundation kept it standing following the Great Kanto Earthquake on Sept 1, 1923, perhaps contributing to its acceptance as a building material in modern Tokyo.
Another reminder of home is a 1955 Subaru 360, a predecessor of my favorite car.