Spirit & Culture – Masaki -N- Kansai

Kyoto’s Three Great Festival Parades: A Living Museum Without Walls

Through three great festival parades, Kyoto residents breathe life into the past, transforming the streets into a living museum of the city’s history and traditions.

Princesses carried in palanquins, elegant ladies-in-waiting accompanied by children in ceremonial costumes, men sporting happi coats and hachimaki headbands as they pull enormous festival floats, and samurai warriors on horseback are just some of the figures from Japan’s past who return to the streets of Kyoto during the parades held annually to celebrate the city’s three great festivals.

From the regal pageantry of the Heian period in Aoi Matsuri (spring) to the kon-chiki-chin rhythm of Gion Matsuri (summer) and the kaleidoscope of historical eras spanning more than a millennium in Jidai Matsuri (autumn), Kyoto residents, young and old, don period costumes and take to the streets to transform the city, capturing the imagination of visitors from Japan and around the world.

The lead float of Kyoto's Gion Matsuri procession advances along a city street, accompanied by participants in traditional white festival clothing. — Enormous festival floats are pulled through Kyoto’s narrow streets by teams of volunteers, whose strength and coordination keep these massive structures moving along the procession route.

Each procession animates a different chapter of Kyoto’s history, enabling residents to share their traditions with visitors while conveying a sense of heritage, community, and civic pride to future generations. More than simple historical reenactments for the tourist trade, these processions instill in Kyoto’s young people a sense of pride in a heritage that will one day be theirs to preserve and pass on.

Together, these festival parades offer a visual portrait of a city whose people have endured wars, epidemics, earthquakes, and famines while preserving their identity and traditions for more than a thousand years. They provide visitors with a unique insight into the spirit of Japan’s ancient capital and the customs, values, and institutions that helped shape the nation.

Aoi Matsuri: The Elegance of the Heian Court

The first chapter of that story begins each year on May 15 with the Aoi Matsuri, Kyoto’s oldest major festival, whose origins stretch back more than 1,400 years. According to tradition, the festival began during the reign of Emperor Kinmei in the sixth century, when severe storms, repeated crop failures, and epidemics prompted the emperor to seek an explanation through divination.

Two young girls in vermilion ceremonial robes pose for a photograph during Aoi Matsuri at Kyoto's Imperial Palace. — Two young participants share a playful moment as they have their photos taken while waiting for the Aoi Matsuri procession to move forward at the Kyoto Imperial Palace.

The disasters were attributed to the displeasure of the Kamo deities, prompting the dispatch of an imperial envoy to perform rites to appease them. In 819, the festival became a state-sponsored ceremony conducted according to the court’s formal ritual system, with an imperial envoy presenting offerings and prayers on the emperor’s behalf.

Participants wear sprigs of aoi (wild ginger), traditionally associated with protection from misfortune. The leaves also adorn costumes, carriages, and other ceremonial objects in the procession. Today, more than 500 participants in Heian-period costume reenact the journey from the Kyoto Imperial Palace to Shimogamo and Kamigamo Shrines, bringing the traditions of the ancient court to life.

Aoi Matsuri participants dressed in colorful Heian-period court robes walk beneath flower-adorned parasols as spectators watch along a shopping street in Kyoto. — Aoi Matsuri participants dressed as Heian-period noblewomen receive an enthusiastic welcome from the neighborhood around Demachiyanagi Shōtengai in Kyoto.

The Aoi Matsuri season also includes a number of traditional rituals and equestrian events at the two Kamo Shrines, including yabusame, or horseback archery, at Shimogamo Shrine and the Kamo Kurabeuma horse races at Kamigamo Shrine.

Despite being one of Kyoto’s three great festivals, Aoi Matsuri is perhaps the most underappreciated by foreign visitors. Lacking the huge yamaboko floats of the Gion Matsuri or the broad historical panorama of the Jidai Matsuri, it feels more like an intimate garden party, where Kyoto residents bring the gaiety of the Heian court into modern Kyoto.

The Saiō-dai's attendants in traditional blue-and-white court robes walk toward Shimogamo Shrine during Kyoto's Aoi Matsuri procession. — Attendants accompanying the Saiō-dai walk toward Shimogamo Shrine in elaborate court attire as spectators gather to watch the Aoi Matsuri procession.

This was an era often regarded as Japan’s cultural golden age, a world of poetry, romance, lavish clothing, and seasonal elegance that is sometimes overshadowed by the era of samurai warriors and the influence of Zen Buddhism.

Stories of jealous spirits, courtly rivalries, and the supernatural were recurring themes in Heian literature, making Aoi Matsuri a fitting backdrop for works such as The Tale of Genji by Murasaki Shikibu. Yet Aoi Matsuri is not the only Kyoto festival born from fears of vengeful spirits.

For those interested in Aoi Matsuri, see my article entitled Aoi Matsuri: When the Hina Dolls Come Alive.

Gion Matsuri: Tradition and Community

The next chapter in our story opens with the Gion Matsuri, which traces its origins to efforts to appease supernatural forces believed to be responsible for deadly epidemics. Centered on Yasaka Shrine, historically known as Gion Shrine, the festival began in 869 when prayers were offered to end a devastating plague that had spread throughout the capital.

A large, ornately decorated Gion Matsuri float moves through central Kyoto, pulled by participants wearing blue-and-white festival jackets and traditional straw hats. — Participants in blue-and-white festival attire pull an elaborately decorated float through central Kyoto during the Gion Matsuri procession.

Over the centuries, however, the festival developed a distinctly different character from Aoi Matsuri. Rather than remaining closely associated with the aristocratic world of the Imperial Court, Gion Matsuri became a festival supported and organized by Kyoto’s merchant and artisan communities, known as the machishū, and by local neighborhoods.

Gion Matsuri is a month-long event that begins on July 1 with a series of ceremonies and celebrations. Its best-known events are the Yamaboko Junkō float processions on July 17 and July 24, which form the highlights of the festival. The chigo, a young boy chosen to ceremonially represent the deities, rides atop the Naginata-hoko, the lead float in the July 17 procession.

Naginata Hoko, the Gion Matsuri float carrying the sacred chigo, displays ornate golden carvings, embroidered panels, and red curtains as participants ride aboard. — Naginata Hoko, the lead float of Kyoto’s Gion Matsuri procession, carries the chigo, a young boy who ceremonially represents the deities.

Reaching as high as a four-story building and weighing several tons, these elaborate structures are constructed without the use of nails and decorated with fine textiles, tapestries, and carvings collected over centuries from Japan and abroad. Pulled through the streets by teams of local residents along the traditional route, these floats represent the pride, craftsmanship, and community spirit of the Kyoto neighborhoods that have preserved them for generations.

Gion Matsuri volunteers in blue happi coats rest near participants dressed in white as they help pull a festival float through Kyoto. — Volunteers take a brief rest in the July heat during Gion Matsuri, while fellow participants in white prepare to pull the massive festival float through Kyoto’s streets.

For those interested in Gion Matsuri, see my article entitled Gion Matsuri: Bridging Tradition and Modernity.

Jidai Matsuri: A Journey Through History

Unlike the Aoi Matsuri and Gion Matsuri, which originated as religious ceremonies, Jidai Matsuri was created to commemorate Kyoto’s long history as Japan’s imperial capital. Beginning with the establishment of Heian-kyō in 794 and continuing through the age of the samurai to the Meiji Restoration, the procession features historical figures dressed in period attire. These include men and women who played significant roles in Kyoto’s history, bringing the city’s past to life in a vivid parade through its streets.

Members of the Ishin Kinnō-tai in black jackets and purple hakama march in the Jidai Matsuri procession carrying historical rifles. — Members of the Ishin Kinnō-tai portray the Yamaguni-tai, a volunteer force that joined the imperial army during the Boshin War against the shogunate.

Centered on Heian Shrine, built in 1895 to commemorate the 1,100th anniversary of the establishment of Heian-kyō as the capital in 794, the festival celebrates the people and events that shaped Kyoto during more than a thousand years of imperial history. Heian Shrine is more than a partial recreation of the State Halls compound of the ancient Heian Palace. It represents Kyoto looking backward in order to define itself in the modern era.

Kyoto civic dignitaries in traditional court robes ride in a horse-drawn carriage during the Jidai Matsuri procession. — Kyoto’s civic dignitaries take part in the Jidai Matsuri procession in horse-drawn carriages, representing the city’s modern institutions alongside its historical past.

Beginning with the Meiji Restoration and reaching back to the early Heian period, when Heian-kyō was established as the capital in 794, the procession moves backward through history as it travels from the Kyoto Imperial Palace to Heian Shrine.

Tomoe Gozen, the legendary female warrior, rides a white horse in armor while carrying a long sword during Kyoto's Jidai Matsuri procession. — Tomoe Gozen, the renowned female warrior who fought alongside Minamoto no Yoshinaka, appears on horseback in armor during Kyoto’s Jidai Matsuri procession.

The procession opens with figures from the turbulent years of the Meiji Restoration that brought an end to the Tokugawa shogunate.

Among them are Sakamoto Ryōma and Nakaoka Shintarō, whose efforts helped pave the way for the Meiji Restoration, as well as members of the Shinsengumi, a special police force formed to protect the shogunate in Kyoto, recognizable by their distinctive blue uniforms. Their presence serves as a reminder that many of the political intrigues, assassinations, and street clashes that transformed Japan into a modern nation unfolded in and around Kyoto itself.

A samurai in ornate armor rides a black horse during Kyoto's Jidai Matsuri procession, accompanied by a participant in traditional military attire. — A samurai in elaborate armor rides through Kyoto’s Jidai Matsuri procession, bringing the city’s warrior history to life.

Yet the Jidai Matsuri is not only a parade of historic figures and events. As the procession moves backward through the centuries, visitors witness the changing fashions and daily lives of the people who once inhabited the ancient capital. Samurai warriors appear in armor and hunting attire, court nobles and ladies-in-waiting glide past in elaborate garments, while the peddling women of Ōhara, who traditionally carried bundles of firewood or charcoal on their heads, evoke the toil of the working women who once traveled into Kyoto’s markets to sell their goods.

Women portraying Oharame carry bundles of brushwood on their heads during Kyoto’s Jidai Matsuri procession. — Women portraying the Oharame of Ohara carry bundles of brushwood on their heads, recreating the traditional journey of women who traveled to Kyoto to sell firewood and other goods.

For those interested in Heian Shrine, see my article entitled Heian Shrine: Remembering the Legacy of the Imperial Capital.

Keeping Kyoto’s Heritage Alive

Perhaps it is because the traditions of these three great parades have been passed down through generations that the participants seem to stand a little straighter, their expressions revealing a sense of pride that lends another dimension to the processions.

The volunteer participants transform the city’s streets into a living tapestry spanning more than a thousand years of history, giving visitors an insight into the lives of the people who lived in Kyoto’s traditional machiya townhouses, worshipped in its sacred places, and shaped the communities that created the Kyoto we see today.

They are also instrumental in making Kyoto a museum without walls, where history is preserved not behind glass but in the streets, and where the stories of the past are periodically brought to life by the people who inherited those traditions. In doing so, they help ensure that Kyoto’s centuries-old cultural inheritance remains a living part of the city’s future rather than merely a remnant of its past.

Aoi Matsuri: When the Hina Dolls Come Alive

Step into Kyoto’s imperial past, where the Hina dolls come alive in a procession of elegance, tradition, and literary intrigue.

Every year on March 3, Japanese families celebrate Hina Matsuri, displaying ornate dolls inhabiting the elegant world of the Heian-period imperial court. Dressed in colorful, intricately crafted silk robes, the emperor, empress, court ladies, musicians, and attendants preserve a vision of courtly life that flourished more than a thousand years ago.

On May 15, that world comes to life on the streets of Kyoto during Aoi Matsuri.

Participants in traditional blue and white robes accompany a lacquered ox-cart decorated with cascading purple wisteria during Kyoto's Aoi Matsuri procession. — A lacquered ox-cart adorned with purple wisteria recalls the ceremonial transport and courtly hierarchy of the Heian-period imperial court.

According to tradition, Aoi Matsuri traces its origins to the reign of Emperor Kinmei in the sixth century, more than two centuries before Kyoto became the capital of Japan. Following a series of storms and crop failures, the emperor is said to have ordered divination to determine their cause. The disasters were attributed to the displeasure of the Kamo deities, prompting the emperor to dispatch an imperial messenger to perform rites seeking their favor and praying for protection and a bountiful harvest.

Originally known as Kamo Matsuri, the festival came to be called Aoi Matsuri after its revival in 1694, when futaba aoi leaves were used to decorate ceremonial objects, clothing, ox-drawn carriages, and horses.

Ox‑drawn Heian‑style palanquin decorated with cascading wisteria, accompanied by attendants in traditional robes during Kyoto’s Aoi Matsuri procession. — The Furyō-guruma, an ox‑drawn palanquin adorned with wisteria, moves through Kyoto as part of the Imperial Messenger’s procession in the Aoi Matsuri.

More than 500 Kyoto residents, ranging from young children to the elderly, dress in period costumes and reenact traditions passed down through generations, preserving a unique part of Japan’s cultural heritage in an elegant procession of nobles, attendants, ox-drawn carts, and horses adorned with futaba aoi, the wild ginger whose leaves are associated with the festival’s present-day name.

Aoi Matsuri participants wearing traditional robes and black court caps adorned with green futaba-aoi leaves, as seen on this noblewoman accompanied by attendants, one carrying a red parasol. — Sprigs of futaba-aoi (double-leaf wild ginger) adorn the participants of Aoi Matsuri, symbolizing the festival’s enduring connection to the Kamo Shrines.

The leaves of futaba-aoi, a wild ginger native to Japan, have traditionally been associated with protection from misfortune. Their use in the festival reflects its origins in prayers for relief from calamities and for the well-being of the people.

The procession travels from the Imperial Palace to the Kamo Shrines. Long before Kyoto became Japan’s capital in 794, the Kamo Shrines occupied an important place in the spiritual life of the region. Today they are known as Shimogamo Shrine and Kamigamo Shrine.

A frontal view of the vermilion entrance gate and traditional architecture of Shimogamo Shrine (Kamo-mioya Shrine) in Kyoto. Copy alt text

Vermilion shrine gate and arched bridge surrounded by trees and gardens at Kamigamo Shrine in Kyoto.

Shimogamo Shrine (left) and Kamigamo Shrine, the two ancient Kamo shrines that welcome the Aoi Matsuri procession and preserve Kyoto’s spiritual heritage.

Shimogamo Shrine, formally known as Kamo-mioya Shrine, stands within Tadasu no Mori, a woodland whose ancient trees provide a striking contrast to the surrounding city. It enshrines Kamo Taketsunumi no Mikoto and his daughter, Tamayorihime no Mikoto. Farther north, Kamigamo Shrine, or Kamo-wakeikazuchi Shrine, is dedicated to Kamo Wakeikazuchi no Kami, a deity associated with thunder. Together, the two shrines have long been revered as guardians of Kyoto and its people.

When the Aoi Matsuri procession reaches each shrine, the festive mood gives way to solemn religious observances. An imperial messenger presents offerings on behalf of the emperor and delivers a formal message to the enshrined deity. Prayers are offered, accompanied by traditional music and dance. These ceremonies reflect the enduring relationship between the imperial court and the Kamo deities.

A woman in traditional court attire rides a horse decorated with greenery during Kyoto's Aoi Matsuri procession. — A participant in traditional court attire rides through the Aoi Matsuri procession, evoking the elegance of the Heian-period imperial court.

The days leading up to the festival include their own distinctive ceremonies. On May 3, Shimogamo Shrine hosts yabusame, in which archers dressed in traditional hunting attire shoot arrows at targets from galloping horses. Two days later, Kamigamo Shrine holds Kamo Kurabeuma, a traditional horse-racing ritual in which riders race along a track to honor the shrine’s deity and pray for peace and abundant harvests.

A mounted archer in traditional Japanese attire draws a bow while riding a galloping horse during a horseback archery demonstration. — The skill and precision required for yabusame, traditional Japanese horseback archery, are demonstrated at events such as the May 3 ceremony at Shimogamo Shrine during the Aoi Matsuri season.

The most prominent figure associated with Aoi Matsuri during the Heian period was the Saiō, an unmarried imperial princess appointed to serve the Kamo deities. Following a period of ritual purification, she took part in ceremonies at the shrines, representing the imperial court and reinforcing the close relationship between the Kamo deities and the rulers of Japan. Today, the tradition is symbolically represented by the Saiō-dai, a woman selected from Kyoto who appears in an elaborate twelve-layered jūnihitoe and is among the most anticipated figures in the procession.

Serving as Saiō-dai is a coveted honor, and the women selected for the role often combine elegance with impressive professional and academic accomplishments.

The Saiō-dai in an elaborate court robe rides in a palanquin during the Aoi Matsuri procession at the Kyoto Imperial Palace, accompanied by participants in colorful Heian-style costumes. — Haruna Matsui, serving as the Saiō-dai, rides in a ceremonial palanquin during the Aoi Matsuri procession at the Kyoto Imperial Palace.

The 2023 Saiō-dai, Haruna Matsui, was a graduate of the University of London, earning academic distinction in finance before completing graduate studies at Keio University. At the time of her selection, she worked for a foreign investment firm supporting venture businesses while also being skilled in traditional Japanese dance. In this way, she embodies the idea that a young girl’s dream of becoming a princess may blossom into a life of dreams and accomplishments far beyond her childhood imagination.

Two young participants in the Aoi Matsuri procession wear traditional pink and white ceremonial robes at Kyoto's Imperial Palace. — Young participants in traditional ceremonial attire take part in the Aoi Matsuri procession at the Kyoto Imperial Palace, carrying a centuries-old tradition into the next generation.

Not only did the Heian period cultivate a world of courtly refinement and elegance, but it also gave rise to one of the great flowering periods of Japanese literature, producing enduring classics such as The Tale of Genji and The Pillow Book. The popularity of Aoi Matsuri during this period is reflected in The Tale of Genji. In the novel’s famous “Carriage Contest” episode, Aoi’s attendants force the carriage of Genji’s lover, Lady Rokujo, aside in a struggle for viewing space along the festival route. The humiliation deepens Rokujo’s jealousy, and her living spirit later possesses Aoi, ultimately leading to her death. Stories of jealous spirits, courtly rivalries, and the supernatural were recurring themes in Heian literature.

Yet the golden age of the Heian period would not last. As political power gradually passed from the imperial court and aristocracy to the rising samurai class, the refined culture that had flourished in Kyoto for centuries began to fade.

By the end of the twelfth century, civil wars and political upheaval had transformed Japan, ushering in a new age of austerity dominated by samurai warriors, a stark contrast to the refined culture of the Heian court.

Perhaps this is why Aoi Matsuri remains so dear to the people of Kyoto. Through wars, epidemics, famines, earthquakes, and other hardships, the festival has endured as a reminder of a more elegant world, inspiring people to persevere through adversity so that their children and grandchildren may one day watch Hina dolls come to life before their very eyes.

Heian Shrine: Remembering the Legacy of the Imperial Capital

What does Kyoto’s imperial heritage reveal about the city today? At Heian Shrine, palace architecture, seasonal gardens, and living traditions bring the legacy of Japan’s ancient capital to life.

For people like me who arrived in Japan long before the advent of the Internet and smartphones, Lonely Planet travel guides and encyclopedias were our go-to sources of information about the country. With only a handful of photographs to go by, most of which were black-and-white, much was left to the imagination.

Upon finally arriving in Kyoto and settling into an apartment near Ginkaku-ji, I rode the No. 5 bus almost every day, passing beneath the enormous vermilion torii gate marking the entrance to Heian Shrine. Its sheer size fascinated me.

Heian Shrine's enormous vermilion torii gate spanning a busy road in Kyoto — The enormous vermilion torii marking the entrance to Heian Shrine, which I passed beneath almost every day while riding the No. 5 bus.

It wasn’t until a friend’s solo violin concert in the shrine’s garden that I made my first visit there. For many years to come, it remained the shrine I visited for my New Year’s hatsumōde.

That made taking two young French women to the shrine, only to see their lack of enthusiasm, all the more disheartening. Having just come from the crowds at Fushimi Inari Shrine, they looked across Heian Shrine’s vast open courtyard and found it empty and uninteresting. Their disappointment surprised me and, to be honest, wounded me a little.

Heian Shrine's spacious courtyard and vermilion buildings in Kyoto — The vast open courtyard of Heian Shrine, which struck my French companions as surprisingly empty after the crowds at Fushimi Inari Shrine.

It was then that I realized Heian Shrine cannot be fully appreciated without some understanding of its historical and cultural significance.

Unlike Kyoto’s trendier destinations among foreign travelers, the appeal of Heian Shrine is not always immediately apparent. Yet to many people living in Kyoto, Heian Shrine stands as a testament to the soul of the city: an appreciation of beauty in the changing seasons along with a reverence for nature, artistic refinement, craftsmanship, and cultural traditions.

In that sense, Heian Shrine is more than a shrine. It is a touchstone for the traditions and aesthetic values that have shaped Kyoto and its people.

Traditional Japanese bride and groom posing for a wedding photograph in a garden

Young Japanese woman in kimono posing for a Coming-of-Age photograph at Heian Shrine

From wedding portraits and coming-of-age celebrations to visitors dressed in traditional period costume, Heian Shrine’s gardens offer a setting where Kyoto’s cultural traditions continue to find expression.

To better understand what Heian Shrine represents, it helps to understand the period it was created to commemorate.

In 794, the capital of Japan was transferred from Nara to Kyoto, then known as Heian-kyō. This marked the beginning of the Heian period, which lasted until 1185. The word Heian means “peace,” and because much of the period was characterized by relative stability, it is often remembered as Japan’s Golden Age, when members of the Imperial Court and aristocracy were free to devote themselves to cultural pursuits.

Artistic depiction of Emperor Kanmu seated on a throne in ceremonial robes

Artistic depiction of Emperor Kōmei seated in ceremonial robes

Heian Shrine enshrines Emperor Kanmu, the first emperor to rule from Kyoto, and Emperor Kōmei, the last emperor to reside in Kyoto before the imperial court moved to Tokyo.

More than a thousand years later, after enduring earthquakes, wars, epidemics, and political upheavals, Kyoto found itself facing a very different era. The Meiji Restoration of 1868 brought sweeping political and social changes as Japan embarked on a path of rapid modernization. Emperor Meiji and the Imperial Court moved from Kyoto to Tokyo, effectively ending Kyoto’s role as the nation’s political capital. For many residents, the move was a blow that raised concerns about the city’s place in a rapidly changing Japan.

Seeking to preserve its historical identity while embracing modernization, Kyoto undertook a series of ambitious public works and cultural projects. One of the most important was the Fourth National Industrial Exhibition, held in 1895. The exhibition transformed the largely undeveloped Okazaki area into a showcase of Japan’s future while celebrating the city’s historic past.

Built to commemorate the 1,100th anniversary of the founding of Heian-kyō, Heian Shrine became the centerpiece of this effort.

Completed in 1895, Heian Shrine was built at five-eighths scale to reproduce the Chōdō-in, or State Halls Compound, of the original Heian Palace, enabling visitors to step back in time and experience the grandeur of the ancient imperial capital. The shrine’s main buildings include the Daigokuden, the principal hall where the emperor presided over state affairs.

Sōryū-rō, or Azure Dragon Tower, at Heian Shrine in Kyoto — Sōryū-rō, or Azure Dragon Tower, is one of the distinctive structures reproduced from the Chōdō-in of the ancient Heian Palace.

Its spacious courtyards and striking vermilion buildings convey something of the scale and majesty that once characterized Japan’s ancient capital. Emperor Kanmu, who transferred the capital to Kyoto, and Emperor Kōmei, the last emperor to rule from the city, are enshrined here.

More than a partial recreation of the Heian Palace, it is a monument created by modern Kyoto to remember its roots while imagining just how far it could move forward.

Fast-forward a century, and we find that Okazaki remains one of Kyoto’s most important cultural districts. Alongside Heian Shrine are museums, theaters, exhibition halls, the municipal zoo, the Budo Center, and several public parks. Together, they form a cultural hub where art, performance, traditional crafts, recreation, and community life converge, allowing the area to serve as a bridge between Kyoto’s historic past and its modern future.

Kyoto’s future, of course, is not confined to its temples, shrines, and traditional arts. The city is also home to universities, research institutions, technology companies, and innovative businesses. Its aspiration has never been simply about preserving the past.

In that sense, Heian Shrine’s significance lies not in recreating a world that no longer exists, but in how Kyoto uses that past as part of its continuing identity.

In spring, visitors gather beneath its famous weeping cherry blossoms, while each October the shrine serves as the final destination of the Jidai Matsuri, one of Kyoto’s three great festival processions. The procession itself embodies the connection between Kyoto’s past and its present, carrying figures from the city’s long history through the streets of the modern city before arriving here.

Weeping cherry blossoms framing a pond and bridge in the garden of Heian Shrine in Kyoto — Weeping cherry blossoms framing a pond and bridge in the Shin’en Gardens at Heian Shrine.

The Shin’en Gardens at Heian Shrine cover approximately 30,000 square meters. Strolling along their paths offers visitors a chance to experience garden styles associated with different periods of Kyoto’s history, from the Heian period (794–1185) through the Kamakura (1185–1333), Momoyama (1568–1600), and Edo (1603–1868) periods.

The gardens’ spacious grounds, picturesque scenes, and elegant landscaping provide a peaceful respite from the surrounding city, allowing visitors to appreciate the natural beauty of each season. In the South Garden, winding paths, a tranquil stream, and spectacular weeping cherry blossoms evoke a time when members of the Imperial Court devoted themselves to poetry, music, and the refined expression of emotion through the changing seasons.

Traditional dance performers in colorful costumes at Heian Shrine in Kyoto — Traditional dance performed at Heian Shrine during Reisai Yokujitsusai, the observance held on the day following the shrine’s annual festival.

It is little wonder, then, that the shrine is frequently used as a backdrop for historical productions. NHK’s 2024 Taiga drama Hikaru Kimi e, which chronicles the life of Murasaki Shikibu, author of The Tale of Genji, was filmed in part at Heian Shrine to help recreate the atmosphere of the Heian court.

This link to the past is perhaps one reason why Heian Shrine remains such a visible symbol of Kyoto today, connecting the modern city with an age associated with peace and cultural refinement. In celebrating that legacy, Heian Shrine provides modern Kyoto with a tangible connection to one of the most influential periods in its history.

And if you happen to visit on a quiet weekday when the shrine is uncrowded, try looking beyond the buildings and gardens to the world it was intended to evoke. You may just find yourself transported back to a time when court nobles composed poetry, admired the changing seasons, and drifted across garden ponds in small boats.

That’s because Heian Shrine, like many other famous attractions in Kyoto, rewards the imagination.

Kampai to the Gods: Why Osaka’s Biggest Festival Feels Like a Block Party

Together, Tenjin Matsuri and Kyoto’s Gion Matsuri are two of Japan’s three great festivals. While both trace their origins to ancient rites meant to appease vengeful spirits, the manner in which they honor their respective deities is as different as the flavor of the dashi they use to season their food.

For those interested in Gion Matsuri, see my article entitled Gion Matsuri: Bridging Tradition and Modernity.

For example, at Kyoto’s Gion Matsuri, you get the impression that a deity, known as kami in Japanese, might roll its eyes derisively upon seeing beer and snacks being served to guests in premium seating during the Yamaboko procession, while at Tenjin Matsuri, you suspect the kami would give a nod of approval and a loud yell of “Kampai!”

Vendor grilling chicken gyoza at a festival stall during Tenjin Matsuri, with two visitors in yukata watching — A young couple in yukata pauses at a chicken *gyoza* stall for a quick, delicious snack during Tenjin Matsuri.

The difference stems from both geography and history. Kyoto is located inland, surrounded by mountains, and was home to the Imperial Court for over a millennium. During that time, the city strictly adhered to codes defining ceremony, etiquette, and social status. Downstream lay Osaka, a commercial port city welcoming anyone who had something to trade. Much of the cargo traded in Osaka’s markets—rice, seafood, sake, textiles—wound up on boats heading up the Yodo River (now called the Ōkawa River) to Kyoto.

In this way, the river became both a bridge and a dividing line between the country’s political capital and its economic engine.

“…the manner in which they worship their respective deities is as different as the flavor of dashi they use to season their food.”

Today, Tenjin Matsuri carries on the dynamic spirit of that bustling port city where merchants, traders, and working-class families have lived and conducted business beside their tutelary shrine for more than a thousand years.

Festival visitors gather beneath a decorated shrine gate during Tenjin Matsuri, with lanterns, a large chinowa ring, and priests visible inside the illuminated shrine. — As dusk fades into night, people gather at the shrine gate to catch a glimpse of the lively ceremonies going on inside.

For the people of Osaka’s Tenma district, Tenjin Matsuri is only one aspect of Osaka Tenmangū’s role in the local community. It is a neighbor, a guardian, and a familiar presence in everyday life. That relationship becomes even more apparent the moment you step beyond the shrine grounds.

Performers in traditional festival attire dance with colorful umbrellas during Tenjin Matsuri as spectators line the street at night. — Under the glow of a streetlight, dancers move toward the shrine with umbrellas in hand, carrying the rhythm and joy of Tenjin Matsuri into the night.

A Shrine Woven into the Neighborhood

Only a short walk away lies Tenjinbashisuji Shopping Street, the longest covered shopping arcade in Japan. Each morning, shopkeepers stop by the shrine before opening their stores. Students pause to pray before examinations. Office workers pass through the grounds on their way to the station. Families return for New Year’s prayers, christenings, weddings, and Shichi-Go-San celebrations.

Far from being separated from the neighborhood, Osaka Tenmangū is woven into it.

Crowds walk through Tenjinbashi Shopping Arcade, one of Japan’s longest shopping streets, on the approach to Osaka Tenmangu during Tenjin Matsuri. — Tenjinbashisuji Shopping Street becomes a lively pilgrimage during Tenjin Matsuri, guiding visitors toward Osaka Tenmangū Shrine.

Founded in 949, the shrine honors Sugawara no Michizane, a brilliant Heian-period scholar who was deified as Tenjin, the kami of learning. After falling victim to court intrigue, Michizane stopped at a small shrine on this exact spot on his way to exile in Kyushu, where he died two years later in poverty and despair. Soon after, disasters struck the imperial court—lightning blasted the palace, powerful rivals died unexpectedly, and plagues swept the capital.

Realizing they had angered a powerful spirit, the terrified court restored his honors to appease his spirit. It is one of the wildest transformations in Japanese history: a vengeful ghost gradually became the benevolent patron saint of students, merchants, and the neighborhood that grew up around him over the course of a thousand years.

For the people of Osaka, that affection has endured through both prosperity and devastation.

Front of Osaka Tenmangu Shrine with its wooden façade, lanterns, shimenawa, and sake barrels, showing the enduring craftsmanship of the historic structure. — Osaka Tenmangu’s wooden front, lined with lanterns and sake barrels, reflects the shrine’s long history and the community that has protected it.

During the air raids of 1945, parishioners fought to protect Osaka Tenmangū even as their own homes burned around them. A sign on the shrine grounds recalls how local residents struggled to save Tenjin-san from the flames. The shrine survived because the people of Tenma refused to abandon it.

Costumed performer representing Tenjin, the deity once associated with thunder and later revered as the kami of learning, riding a white horse during Tenjin Matsuri. — Riding a white horse in his traditional guise, Tenjin embodies the festival’s deep history—from his origins as a thunder kami to his enduring role as the patron of scholarship.

When the Deity Hits the Streets (and the River)

For two days every July 24th and 25th, Osaka throws a loud, boisterous party for its beloved deity, and everyone is invited.

Tenjin Matsuri begins with solemn rituals within the shrine precincts before spilling into the streets. Priests, shrine maidens, drummers, musicians, and participants in historical costume accompany the mikoshi (portable shrine) carrying the divine spirit of Tenjin-san and its escort mikoshi through the city. The crowds line the route, not merely to watch the spectacle, but to accompany Tenjin-san through the streets that he has watched over for centuries.

Tenjin’s mikoshi, carried by festival participants just before being transferred to a boat for the river procession during Tenjin Matsuri. — The *mikoshi* carrying Tenjin’s spirit is lifted and prepared for transfer to the boat, marking the start of the river procession.

As evening falls, the two mikoshi are transferred to a waiting boat on the Ōkawa River. Lanterns shimmer across the water as brightly decorated vessels gather for the night’s river procession. Waiting patiently along the riverbanks for their arrival are groups of people sitting beneath the trees on blue plastic sheets, while food stalls fill the warm summer air with the aromas of grilled squid, yakitori, takoyaki, and festival sweets.

Crowds gather along the riverside during Tenjin Matsuri, waiting for the river procession and the fireworks that follow. — As the river grows quiet before nightfall, people settle along the bank—waiting for Tenjin’s procession to pass and for the first burst of fireworks to open the sky.

Business organizations entertain guests aboard viewing barges. Illuminated advertisements and company mascots glide past alongside the mikoshi. No one seems to find the juxtaposition unusual. After all, this is Osaka, where people greet each other with “Mōkarimakka?” (“Are you making money?”), which is met with “Bochi bochi denna” (“Just getting by.”).

Dragon boat rowers lead the river procession during Tenjin Matsuri, followed by the two mikoshi boats and a barge carrying participants down the Okawa — Rowers drive the dragon boat ahead of the mikoshi vessels, while a barge of participants follows—one of the most iconic scenes of Tenjin Matsuri’s river procession.

As the mikoshi floats by the crowd to its exalted position on the river, other barges follow. Then darkness settles over the water, fireworks begin to erupt above the illuminated boats. Along the waterfront stand businessmen in summer suits, young construction workers in their work clothes, young children sitting on a parent’s shoulders, university students dressed in brightly colored yukata, and lifelong residents of Tenma of all generations. For a few hours, they gaze upward in wonder at the mesmerizing display of exploding light, culminating in a finale of a near-deafening crescendo of sound and light.

Crowds watch the opening fireworks of Tenjin Matsuri, with bright bursts lighting the evening sky above the river. — As the river procession ends, the night begins to glow with fireworks, drawing the crowd’s eyes upward in one of Tenjin Matsuri’s most beloved moments.

Tenjin Matsuri is not simply a religious ceremony to express appreciation to a protective deity, nor is it a public event to entertain guests and bring a community closer with food and fireworks. It is all those things, but it also reminds us that the joy of humanity begins with being joyful in the company of our neighbors.

For all its grandeur, Tenjin Matsuri remains, at heart, a neighborhood festival. It is a thousand-year bond between the people of Tenma and the deity they have long regarded not as a distant god, but as their own Tenjin-san.

Gion Matsuri: Bridging Tradition and Modernity

As the colorful hydrangeas of the rainy season in June fade from memory, Kyoto transforms for the month of July. Paper lanterns hang beneath downtown awnings, massive yamaboko floats emerge from their storehouses, and the kon-chiki-kon rhythm of Gion-bayashi echoes through crowded sidewalks and covered shopping arcades.

These are the unmistakable signs that Gion Matsuri has begun.

To visitors, it may seem like a month of mysterious rituals and a massive block party culminating in a spectacular procession of towering floats weaving through Kyoto’s narrow streets. For those raised in Kyoto, however, it is an opportunity to pass down centuries-old traditions and beliefs while extending the spirit of omotenashi, Japanese hospitality, to visitors from near and far.

Traditional red and white lanterns hanging in Kyoto during Gion Matsuri, with modern buildings in the background. — Lanterns marking the arrival of Gion Matsuri—where centuries-old symbols glow against the backdrop of modern Kyoto.

The festival traces its origins to 869, when a devastating epidemic swept through the capital. People believed the plague had been unleashed by the anger of vengeful spirits (goryō). In response, the Imperial Court held a goryō-e, a purification rite in which sixty-six towering halberds (hoko), one for each province of Japan, were erected to attract and contain these malevolent spirits. Prayers were then offered to the deity Gozu Tennō, later identified with Susanoo-no-Mikoto, asking him to pacify these supernatural forces and protect the capital.

According to tradition, the epidemic subsided. The rite became an annual expression of gratitude for divine protection and a prayer for the continued blessings of the deities enshrined at Yasaka Shrine. For more than five centuries, it endured until the Ōnin War (1467 to 1477), when much of Kyoto was reduced to ashes in a decade of civil conflict.

The main gate of Yasaka Shrine in Kyoto, with visitors walking near the entrance and trees surrounding the shrine. — “The entrance to Yasaka Shrine—the spiritual heart of Gion Matsuri, where the festival’s ancient rituals begin and return

Five years after the war ended, Kyoto’s wealthy merchant and artisan class, known collectively as the machishū, looked upon a city left battered and exhausted. Rather than wait for the Imperial Court or military leaders to restore civic life, they petitioned to revive Gion Matsuri and committed their own wealth, labor, and organizational skills to rebuilding it.

As the festival grew, individual neighborhoods assumed responsibility for constructing, maintaining, and parading a single yamaboko float, creating a tradition of stewardship that has endured for more than five centuries. In doing so, the festival evolved from an exclusively religious observance into a civic celebration that strengthened neighborhood identity while preserving its sacred purpose.

A display of traditional art and artifacts arranged for public viewing during Yoiyama, including textiles, scrolls, and ceremonial items. — During *Yoiyama*, families open their homes to display the art and heirlooms passed down through generations—revealing the craftsmanship and devotion that sustain Gion Matsuri

That balance between faith and community still defines Gion Matsuri today. Throughout July, each neighborhood assumes responsibility for preserving traditions that have been handed down for generations while welcoming hundreds of thousands of visitors into the heart of Kyoto. It is this combination of devotion, civic pride, and hospitality that transforms Gion Matsuri from a festival into a living expression of Kyoto itself.

A group of maiko-san in daytime attire standing along a street, watching a float during the Yamaboko procession in Kyoto. — Maiko-san in their daytime attire pause along the street to watch the Yamaboko procession—an everyday moment where Kyoto’s living traditions meet the festival’s grand spectacle

A busy evening scene on Karasuma Street with food stalls, festival banners, and crowds of people during Gion Matsuri. — Karasuma Street on a summer evening, where food stalls and festival games draw young people into the lively rhythm of Gion Matsuri.

For many visitors, Gion Matsuri truly begins during the evenings of Yoiyama, the days leading up to the Yamaboko Junko procession. As the towering floats are assembled using centuries-old joinery techniques without a single nail, central Kyoto transforms into a lively festival district. Streets close to traffic, the sounds of Gion-bayashi drift through the air, lanterns illuminate the floats, and thousands of people dressed in a summer yukata stroll from one neighborhood to the next, enjoying food stalls, traditional performances, and an atmosphere that has defined the festival for generations.

A child sitting on an adult’s shoulders watching illuminated lanterns during Yoiyama, surrounded by a nighttime festival crowd. — Not all premium seating is expensive—on *Yoiyama* evenings, a child’s view from a parent’s shoulders becomes one of the festival’s most cherished vantage points

Behind the celebration lies an extraordinary community effort. Throughout the month, neighborhood associations, craftsmen, musicians, shrine parishioners, students, and countless volunteers devote their time to assembling floats, directing crowds, selling chimaki, performing festival music, and welcoming visitors from across Japan and around the world. Their quiet dedication embodies the spirit of omotenashi, transforming Gion Matsuri from a spectacular public celebration into a heartfelt invitation to experience Kyoto’s living traditions.

Participants in traditional attire guiding a float during the Yamaboko procession, with a man in modern clothing walking nearby. — Volunteers and community members guiding the Yamaboko procession—an everyday devotion that keeps Gion Matsuri alive in the heart of modern Kyoto

Although the Yamaboko Junko procession draws the largest crowds, it serves a deeper religious purpose. On the evening of July 17, the three mikoshi (portable shrines) depart Yasaka Shrine carrying the shrine’s tutelary deities, including Susanoo-no-Mikoto, into the parish neighborhoods of central Kyoto. For the next seven days, the deities are believed to reside among the people, blessing the city and protecting it from illness and misfortune.

A mikoshi being lifted and shaken by participants during Gion Matsuri, preparing to be carried through the city. — One of the mikoshi being lifted and shaken as it begins its journey into the city—carrying the shrine’s deities to dwell among Kyoto’s people until their return on the 24th.

On July 24, following the Ato Matsuri return procession of the remaining yamaboko floats, the three mikoshi make their solemn journey back to Yasaka Shrine. With the deities returned to their sanctuary, the spiritual cycle of Gion Matsuri comes full circle, concluding another year of prayers for purification, protection, and the well-being of Kyoto.

One of the festival’s most recognizable traditions is the sale of chimaki at the floats during Yoiyama. Unlike the edible rice dumpling of the same name, these woven talismans trace their origins to the legend of Susanoo-no-Mikoto, who, disguised as a poor traveler, was turned away by a wealthy household before finding shelter with a humble man named Somin Shōrai.

Unaware of his guest’s true identity, Shōrai welcomed him with what little he had. After revealing himself, Susanoo rewarded Shōrai’s generosity by protecting his family from a devastating plague. Today, hanging a new chimaki above the entrance of a home or business expresses the wish to stand among the descendants of Somin Shōrai while invoking protection against illness and misfortune.

A chimaki talisman hanging on a door, used during Gion Matsuri as a symbol of protection.

A chimaki hanging at my door—an annual reminder of the story of Somin Shōrai and the wish for protection and good health during Gion Matsuri

It hangs above the door to ward off all sorts of evil—excluding in‑laws—and is exchanged for a new one each July, with the old talisman taken back to the shrine for ritual burning.

More than a good-luck charm, the chimaki symbolizes a community’s determination to face the powerful forces of nature and the uncertainties of life through compassion, gratitude, and hospitality toward neighbors and strangers alike.

Perhaps the greatest lesson of Gion Matsuri is that preserving and taking pride in one’s heritage is not an obstacle to change, but rather a precursor to it. Every July, Gion Matsuri reminds us that while epidemics, wars, and even centuries may pass, compassion, gratitude, craftsmanship, and hospitality remain strong enough to carry a city forward into the future. In doing so, the festival continues to serve as a living bridge between Kyoto’s past and its future.

Ode to the Venerable Plum Blossom Trees

The firstborn in a family enjoys a celebrity status right up to the birth of a sibling, at which time the child gets unceremoniously pushed aside and forgotten. The plum blossom tree, or ume in Japanese, is that firstborn child.

Arriving from China in the 8th century, plum blossoms occupied a preeminent position in the Imperial Court of Emperor Saga during the Nara Period (710–794 CE). At that time, Japanese aristocrats attended garden hanami (flower viewing) parties to gaze at the beautiful pink and white flowers and write poems about the beauty of plum blossoms.

Then came the Heian Period (794–1185) and the appearance of the precocious cherry blossoms, which supplanted plum blossoms as the object of adoration in the eyes of the Japanese aristocrats.

Nevertheless, there are still a few places around Japan where plum blossoms are celebrated for their beauty. Two of the most famous places in Kansai are the Jonan and Kitano Tenman shrines in Kyoto.

Jonan Shrine

Built when the capital moved from Nara to Kyoto in the 8th century, the
Jonan Shrine, or “shrine south of the capital,” was established in the southern part of Kyoto to ward off calamities and offer prayers for the prosperity of the country. It is also a shrine for people who are bad at directions and seek safe travels.

*Miko* blessing worshipper with bells and a plum blossom branch

Throughout the year, mikos, or shrine maidens, offer a ritual kagura dance to the gods before blessing shrine visitors with bells and a seasonal flower branch. In ancient times, shrine maidens served as a spiritual medium to communicate with the dead, perform healing rituals for the sick, and foretell the future.

There are seven gods enshrined here including Amaterasu Ōmikami, the sun goddess, Ōkuninushi, the deity who protects Japan, and Sugawara no Michizane, known posthumously as Tenjin, the deity of learning in Japan.

Rakusuien Garden

Spring Mountain Garden features roughly 150 plum blossoms trees and camellia plants

The Rakusuien Garden, which covers approximately 30,000 sq. meters, surrounds the Jonan shrine and is comprised of five gardens. The Spring Mountain Garden treats visitors to roughly 150 plum blossoms trees and camellia plants before leading them to the Heian Garden where they can see a small stream and lush moss. Across from these gardens are the Muromachi, Momoyama, and the Jonan Imperial Villa gardens where visitors can see a pond with carp, a teahouse, rock garden, and flowers that include cherry blossoms and azaleas.

The garden is impressive no matter the season and is often called the Tale of Genji garden since all of the 100 different types of plants mentioned in the Tale of Genji can be found at the Jonan Shrine.

Heian Garden featuring a small stream and lush moss

Kitano Tenman Shrine

Located in west Kyoto, this shrine was established in 947 and enshrines the spirit of the scholar and poet Sugawara no Michizane, who was canonized after his death as Tenjin, the deity of learning. He was the first person to have been deified in Japan.

While the Jonan Shrine also has a small shrine devoted to Sugawara no Michizane, the Kitano Tenman Shrine was the first established for the deity Tenjin, and it currently serves as the head shrine for the various Tenjin shrines throughout the country.

One of the many cow statues at the shrine for good luck and relief from pain

Sugawara no Michizane had been a gifted civil servant who quickly rose up the ranks to become advisor to Emperor Uda. Unfortunately, when Emperor Uda abdicated his throne, people who had been jealous of the civil servant’s success had him banished in 901 to the faraway island of Kyushu where he lived in obscurity until he died two years later.

Ornate walls and lanterns of the shrine’s main hall

Following his death, Kyoto suffered severe thunderstorms, earthquakes, and outbreaks of the plague, and there were sudden, mysterious deaths among the people who had banished him and members of the imperial family. People concluded that the angry spirit of Sugawara no Michizane was to blame for these misfortunes, and the Kitano Tenman Shrine was established to appease his angry spirit.

Bai-en Garden

Plum blossom flowers blooming in late February

Plum blossoms were a personal favorite of Sugawara no Michizane. For this reason, the Bai-en Garden within Kitano Tenman Shrine has nearly 2,000 plum blossom trees. From mid-February through early March, the garden is open to the public for a small entrance fee. On February 25, the shrine holds its annual Ume Blossom Festival, and there is a tea ceremony on the day where geikos and maikos (Kyoto geishas and apprentices) from the nearby dKamishichiken district come to the shrine to serve matcha tea and Japanese sweets.

One of the nearly 2,000 plum blossom trees in the Bai-en Garden

March 9, 2026

Captivated by the Ebisu Spirit

January 10, 2026

While many people face difficulties growing up, few of us have faced abandonment at sea by our deity parents because we were born without any bones. Fortunately, Ebisu was the happy-go-lucky sort who could turn lemons into lemonade.

Rescued by a fisherman who subsequently adopted him as his son, Ebisu miraculously grew bones and developed a passion for fishing. Even as an adult, no one ever saw him without a fishing rod in one hand and a fish in the other.

Though partially deaf and slightly disabled with a limp, Ebisu always maintained a positive outlook despite his hardships and difficulties. For this reason, he continues to enjoy widespread appeal in Japan as the Shinto deity of fortune and prosperity.

Ebisu is also the only Japanese deity among the Seven Gods of Fortune and is often seen with his buddy Daikokuten, the Buddhist deity of fortune and households. Being the swell guy that he is, many Japanese companies use his likeness to market their products, including beer.

Seven Gods of Fortune in Japanese mythology

Since the early days of the Heian period (794 to 1185), Ebisu has made his home at the Nishinomiya Shrine in Nishinomiya, Hyogo. The Nishinomiya Shrine is the head shrine for around 3,500 shrines of the Ebisu sect nationwide.

Toka Ebisu Festival

If truth be told, inside every Kansai person beats the heart of a merchant because no other region in Japan prays with greater devotion to the deity Ebisu than the people of Kansai. That fervor is most easily seen at the regions’ semi-annual bargain sales and the Toka Ebisu festivals held in Kansai over a four-day period in early January.

Toka is the Japanese word for the 10th day, which marks the most auspicious day for paying homage to Ebisu. The bulk of the celebrations center on the three major Ebisu shrines in Kansai of Imamiya Ebisu Shrine in Osaka, the Kyoto Ebisu Shrine in Kyoto, and the Nishinomiya Shrine in Nishinomiya. Like jealous young children competing for their mother’s attention, each shrine tries to outshine the other two for the crown of best festival.

Imamiya Ebisu Shrine

Osakans lining up to pray for good fortune and prosperity in 2022

Osaka has been a commercial hub in Japan since ancient times and the popular greeting among friends here is “Mokamatta ka,” meaning “Are you making a lot of money?” Given this nature of Osaka people, it is hardly surprising that the shrine can fetch up to as much as 200 dollars for a lucky fukuzasa bamboo branch loaded with amulets and charms.

Many of the people who worship at this shrine are small business owners and employees who come in the hope that Ebisu will tame the animals spirits for this year, and it is this shared desire that generates a level of excitement in the crowd that rivals major sporting events.

Though suspended due to the coronavirus in 2021 and 2022, a parade, food stalls, and visits by local geishas are some of the special attractions of the Imamiya Ebisu Shrine.

Kyoto Ebisu Shrine

Located in the Gion district in Kyoto, the Kyoto Ebisu Shrine draws great support and love from the surrounding merchants and proprietors of local bars and restaurants. Unlike Osaka, its lucky fukuzasa bamboo branches are more reasonably priced, blessed by shrine maidens performing live kagura dances, and handed out by maiko geisha apprentices. Top that Imamiya Ebisu Shrine!

Also, the festival runs for an additional fifth day and includes many Japanese traditions and practices. Unfortunately, some events and activities, like the participation by maiko geisha apprentices, had to be curtailed again this year because of COVID-19. Nevertheless, city officials showed great pluck in allowing street food vendors to set up stalls on the street leading to the shrine’s main gate. In doing so, they signaled another step forward toward some sense of normalcy.

Nishinomiya Shrine

Former wild Japanese monkey now working in the entertainment business

Just mentioning that the Toka Ebisu festival in Nishinomiya has a performing monkey should be sufficient for its declaration as Ebisu festival champion, but its haunted house, game stalls for children, and sweet amazake beverages make it an enjoyable place for the whole family to pray for good fortune. And did I mention it had a performing monkey?

Not only does the Nishinomiya Shrine attract enormous crowds during Toka Ebisu, but it is also a major shrine in Hyogo where people can stroll its large grounds year round to enjoy a moment of peace and serenity.

Celebrations for Toka Ebisu at these three major shrines and smaller ones like them reveal much about the tremendous energy, vitality, and competitive spirit of the Kansai people and are a part of the must-see Kansai events in January.

Cherry Blossoms Lift Kansai Spirits

Weeping cherry blossoms at Kiyomizu Temple in Kyoto

“Wa-a-a…kirei,” which means “how beautiful” in English, are the words you are likely to hear when a Japanese person reacts to seeing 40 to 50 cherry blossoms in full bloom lined up in one place. Next comes a respectful silence for the overwhelming beauty and the emotions that it stirs inside. Finally, there is the pose with a peace sign for the obligatory photo in front of the cherry blossoms. This is Japan after all.

Cherry blossoms in Kansai typically bloom from the end of March to the first week of April. Their buds first appear around the spring equinox and wait patiently on their branches for a couple days of warm sunshine before popping out like popcorn on a stick. When unaffected by rain or strong gusts of wind, they will remain on the trees for three to five days before scattering in the wind like falling snowflakes.

Philosopher’s Walk, a path in Kyoto that extends from Ginkaku Temple to Nanzen Temple

Every April starts a new business and academic year in Japan, and in Kansai the appearance of cherry blossoms often coincides with company and school entrance ceremonies. Similarly, many young couples choose this time of year to get married. In this way, cherry blossoms mark the passage of time and inspire a feeling of hope in those starting a new path in their lives.

Hanami Parties for Viewing Cherry Blossoms

Gathering of friends sharing in the beauty at the Shukugawa Park in Nishinomiya

Hanami is a Japanese word for the traditional custom of Japanese people sitting underneath a cherry blossom tree, eating a packed lunch, drinking beer and sake, and even singing karaoke. In a typical year, mothers with their small children, families, close friends, and colleagues find a place to spread out their blue plastic tarps to enjoy seeing the cherry blossoms together.

College students spending an afternoon together at the Kamo River in Kyoto

While it sounds like jolly good fun, the ground can be quite damp and cold, the wind chilly, and the thought of drinking cold beer slightly less appealing, especially during night-viewing. Nevertheless, these hanami parties renew relationships, build camaraderie, and strengthen social bonds while giving people an opportunity to engage in shared humanity.

This is why the voluntary (and not so voluntary) restraints placed on the movements of people in Japan these past two years for COVID-19 have been so stressful on the Japanese people. Fortunately, the recent semi-state of emergency was lifted on March 21, 2022, enabling people to take a step forward toward normalcy.

Visiting Some Famous Places in Kyoto

*Hanami* at night in Maruyama Park in Kyoto

As with its temples and shrines, Kyoto has hundreds of places that are famous for cherry blossoms, and even taking five days to tour the city would not be enough time to see them all. For a day trip, limiting your destinations to East Kyoto can help maximize your time for viewing cherry blossoms since the distances between the famous gardens inside temples and shrines are smaller.

Unfortunately, a significant number of temples and shrines are either undergoing major renovations or preparing for renovations since tourism for these past two years has been exclusively domestic and restricted by state of emergency proclamations. Visitors in 2023 can expect those renovations to be completed.

Maruyama Park

One of the most famous places in Kansai for cherry trees is Maruyama Park. Here you can see around 680 cherry blossom trees, including its famous 80-year old weeping cherry blossom tree. The park is adjacent to Yasaka Shrine.

Philosopher’s Walk

With around 500 cherry blossom trees lining the path, Philosopher’s Walk is a popular destination for taking photographs of cherry blossoms. The most beautiful spots are around Ginkaku Temple from where you can stroll down the path to Nanzen Temple.

Kodaiji Temple

Another venerable tree in Kansai is the weeping cherry blossom tree in Kodai Temple. The temple was constructed by “Nene” in memory of her late husband Toyotomi Hideyoshi, a feudal lord who was one of the three unifiers of Japan.

Siege at the Gates of Osaka Castle

View of Osaka Castle through the cherry blossoms in full bloom

Being closed to picnickers and alcohol meant that the appeal of going inside the Osaka Castle garden to see the cherry blossoms was significantly diminished. Undeterred, throngs of Osakans stretched out their blue plastic sheets under the cherry trees bordering the moat to lay a daylong siege outside the castle wall with their lunches, snacks, and beverages of choice.

Some even mocked those behind the castle walls by throwing discs to each other, engaging in random frolicking, and doing cartwheels on the grass lawn in front of the main gate. The message was clear: “We reclaim our weekend territory.” In normal times, Osaka Castle is a popular place with plenty of space for friends and family to hang out together.

People taking selfies at Osaka Castle in front of the cherry trees

Keep Walking at Shukugawa Park

Walking paths along the Shuku River in Nishinomiya

“No alcohol and social gatherings” was the message sent to Nishinomiya residents over the LINE social media app when the cherry blossoms started blooming and people started flocking to see them. While a few people had already enjoyed their hanami parties prior to the edict, the remaining faced strict enforcement of the city ordinance by an elderly man with a yellow vest and an attitude.

Kansai people come from all over to visit the Shukugawa Park

While the prohibition of alcohol and social gatherings was disappointing, the park is located in a residential area where large crowds provide little economic benefit while the trash left in their wake creates enormous work for the volunteers, mostly retirees, who tidy up the park.

Another reason for maintaining the strict restrictions is the lingering fear among residents of the recent coronavirus variants. While the number of deaths from COVID-19 in Japan may seem minuscule to people in Europe and the United States, there has been noticeable rise from the omicron variant, and the populations in Nishinomiya and nearby cities are largely comprised of elderly people.

That is not to say that there are not a number of grumpy, authoritative elderly people living in Nishinomiya and Hyogo Prefecture-because there are-but in typical years prior to COVID-19 the spirit of hanami had permitted both alcohol and social gatherings.

Even as the expectations for 2022 seem more hopeful than the previous year, people in Kansai wonder when life will get back to normal. Still the cherry blossoms fills us with hope for the future and a communal spirit that believes that we will overcome all the obstacles before us.

March 27, 0026

Category: Spirit & Culture

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