Kyoto International Community House・京都市国際交流協会

Ranma

　　　　Imagine that you are visiting an old Japanese house. You are led to a guest room, or kyakuma (客間)、where straw mats called tatami (畳) cover the floor. Sliding paper doors and screens known as shoji (障子) and fusuma (襖) divide the room. There is a decorative alcove called a tokonoma (床の間) set into the wall, as well as a butsudan (仏壇), a small Buddhist shrine. You sit down before a low, wooden table and carefully examine the details of the room. You notice a small, carved wooden window set into the top of the paper fusuma doors. This little window is called a ranma (欄間).
　　　　A ranma is a type of transom (a piece of wood or stone set at the top of a door or wall). There is a wide vertical space between the top of the fusuma doors and the ceiling, where the ranma is set into the lintel (鴨居). The ranma not only allows light and fresh air to enter the room, but also serves a decorative purpose.
It is believed that the first ranma was created in the year 1053. This ranma can be seen in the Hououdou hall(鳳凰堂) of the Byodoin (平等院) temple in Uji (宇治), south of Kyoto City. (A small picture of this building appears on the back of the ten yen coin.) The ranma that appears in Hououdou is a type of lattice work ranma called koushi ranma (格子欄間). If you stand in the temple garden, you can view the famous five meter tall statue of buddha called Amidanyorai (阿弥陀如来） through the open spaces in the koshi ranma.
　　　　The use of ranma became widespread following the Muromachi period (室町時代：1392-1573). Many shrines of this era feature kachomonyo (花鳥文様), brightly colored carvings of birds and flowers. Simple, open work ranma known as sukashibori (透かし彫り)were also popular.
　　　　As well as adorning shrines and temples, ranma were common in the homes of the merchant class in Japan. The popularity of using decorative ranma within the home spanned from the Azuchi Momoyama Period (安土桃山時代： 1673-1699)through the Edo Period (江戸時代：1600-1867). Due to zoning constraints, houses built during this period tended to be rather narrow, and very deep. The people of the merchant class enjoyed many forms of traditional art, such as tea ceremonies (chanoyu,茶の湯), music, dance and so forth, and celebrated their culture within the home itself. Subsequently, they took pride in creating an elegant atmosphere in their houses. They made original ranma designs to complement the beauty of the rooms.
　　　　There are three popular types of ranma. The first type is called kumikoranma (組子欄間), which is created using many interlinking pieces of wood. The second type is called sukashiboriranma (透かし彫り欄間), or open-work ranma. The third type is called chokokuranma, (彫刻欄間)、which features carvings on both sides. Ranma feature many different types of motif, including flowers and birds (kacho 花鳥), mountain and river imagery (sansui 山水)、and geometric patterns (kikagakumoyo幾何学模様).There are many beautiful examples of ranma in Kyoto. For example, there is a splendid chokokuranma at Nijo Castle (二条城) that features a different design on both sides. There is also a ranma at the Katsura Rikyu Imperial Villa (桂離宮)which is a perfect example of sukashibori. Why not enjoy viewing some Kyoto ranma in the beautiful setting of red and yellow autumn leaves (紅葉)？

R. Hakamada

Kyoto Interview Series

　　　　Life in Kyoto (LIK) recently interviewed Dr. Harvey Shapiro, an American who has been residing in Kyoto since 1970. He is a professor at the Osaka University of Arts, teaching environmental planning there since the department was founded in 1971. The following interview is part of a series profiling foreign nationals living in Kyoto who are doing something unique or different from the stereotypical working gaiikoku-jin.
　　　　"It's a long story. It all started over forty years ago," Dr. Shapiro begins. In 1960, Dr. Shapiro was an architecture student at the University of Detroit, in Michigan, USA. During that time, he enrolled in an Oriental Architectural History course. He learned about buildings and gardens in India, China and Japan, and developed an interest in Asia and Asian culture. His first visit to Japan was a one-month trip as a tourist in the fall of 1967.
　　　　At that time, he faced the harsh reality of Japan's postwar landscape. He was shocked to discover that many beautiful Japanese structures and gardens were surrounded by ugly environments. At that time, Japan was in its postwar rapid economic growth period, and the country's environmental problems were very serious due to a rapid increase in pollution, industrial development and urban growth.
　　　　"I was only taught about the good parts of Japan in the States. I wanted to try to understand the enigma of how such beauty and such ugliness could coexist in Japan with its long tradition of love of nature. " Dr. Shapiro's curiosity enhanced his interest in environmental issues.
　　　　In 1968, he decided to do graduate study in regional environmental planning at the University of Pennsylvania in Philadelphia, USA. There he met Professor Ian McHarg, the author of the well known book Design with Nature. Professor McHarg believed that as long as you had the necessary data, you could do his kind of environmental planning anywhere. Therefore, Dr. Shapiro chose Japan as the topic of his master's thesis and focused on the Yodo (淀) river basin region, an area rich in nature and Japanese history and cultural heritage. When he gave his final thesis presentation at Penn., he had been hoping to receive some suggestions and criticism from his professor and classmates. However, being the first person ever to do an ecological planning study about Japan, Dr. Shapiro was disappointed when no one responded! The only comment from his supervisor was " You've done it."
　　　　 After this experience, Dr. Shapiro decided to get responses to his thesis by interacting with people in Japan. In 1970, he was accepted as a research student in the Architecture Department of Kyoto University. Later that year, Dr. Shapiro had a chance to meet Mr. Hideo Tsukamoto, the founding president of the Osaka University of Arts. Mr. Tsukamoto was looking for someone who could teach environmental planning at the Osaka University of Arts in accordance with Prof. McHarg's book. This was to become the first environmental planning department at a university in Japan. Dr. Shapiro was offered the position and started teaching there in April of 1971.
　　　　"First I rejected the offer, because I didn't have the Japanese language proficiency to teach nor any teaching experience, but I was urged to try it, so I reluctantly accepted." That was the start of his work in Osaka and life in Kyoto for the next 30 years.
　　　　" I never thought that I would stay in Japan this long. I thought that I would stay for only a year at the longest. That was one of my many plans that didn't go according to plan," he (a professional planner) laughs. "The first class consisted of fifty six students all just out of high school. I didn't speak much Japanese, and the students didn't speak any English so needless to say, it was hard for us to communicate with each other, but it was very interesting. That kind of experience helped me learn how to teach my field in Japanese," he reflects.
　　　　Since then, Prof. Shapiro has taught courses such as Regional Planning Concepts, Ecology, and Ecological Planning in the Environmental Planning Department of the Osaka University of Arts, applying a method similar to that developed by his mentor, Prof. McHarg. (Regrettably, Prof. McHarg passed away in March 2001 at age of 80.) Dr. Shapiro and his students do planning studies in the Kinki (近畿) region, as well as for other cities and regions across Japan and the world. As a foreign national, Dr. Shapiro has contributed to the internationalization of his department by traveling with his students overseas seven times since 1976, including five trips to the United States and two to Taiwan. He supervised some of his students in 1998 and 1999 on a regional planning study of the San Francisco Bay Area on the West coast of the USA.
　　　　During their trips, they visited various government offices, experts and citizen groups that are involved in regional planning and environmental protection and are trying to solve environmental problems in the Bay Area. They also saw many types of architecture and landscape designs, and had exchanges with local students and teachers.
　　　　Dr. Shapiro emphasizes that he wants his students to use those experiences to think in terms of large scale long-term planning. He has been teaching a course titled "Futurism" for 25 years.
　　　　He explained: "We planners plan not for the past nor present but for the future, so we must think seriously about it. For example, it takes 10 to 20 years to carry out a plan for an airport region." Unfortunately, his university will eliminate the Futurism course in 2004, but Dr. Shapiro says he will continue to integrate this important topic into all of his other courses.
　　　　Having lived in Kyoto for over 30 years, Dr. Shapiro worries about the future of Kyoto and Japan. Japan's urban landscape has continued to worsen, and Japanese people are not as mindful of the environment and nature as they used to be. He believes that Japan has adopted the worst aspects of the West while discarding the best elements of Japan. He thinks people have become more self-centered, not giving their seats to the handicapped or elderly, throwing their cigarette butts and trash all over in public spaces and talking loudly, as well as girls applying make up on trains and buses. However, he praises Japan's highly developed public transportation system, and he recommends that we use it more, as well as bicycles and our feet and fewer cars in order to help protect the environment and save lives.(He has never owned nor driven a car during all his years in Japan!)
　　　　Finally, Dr. Shapiro sends this message to you, the readers of Life in Kyoto: "While you are here, of course do learn Japan's technology and skills to help your own countries, but also do something to help Japan, too. Doing something good for Japan means you are also contributing to the good of the world. Fostering mutual understanding is a good example of that. Japan needs your international help!"

A. Yokota

Momiji: Two Hidden Places To See Maple Leaves

Kyoto is famous for the beauty of it's momiji maple leaves (紅葉) in November, but you may encounter crowds at the popular viewing spots. Life in Kyoto has found two special spots to view momiji that are more secluded and peaceful.

Shoji-Ji Temple (勝持寺)
Shoji-ji Tera, located in Nishikyo Ward, is very famous for it's cherry blossoms.
There are about 100 cherry trees in it's precinct, but there is about the same number of wild maple trees in the same area. They are not as widely known as the cherry trees, but are just as beautiful when they are shining against the straw-thatched temple roof in the clear autumn sky. They are the best in the middle of November. You shouldn't miss this chance to see them.
Address: Shoji-ji Temple, Oharano Minami Kasuga-Cho, 1194 Nishikyo-ku, Kyoto
Inquiries: Tel. 075-331-0601
Admission: \400
Directions:
1. Get off at the JR Mukomachi or Hankyu Higashi Muko station. Take the Hankyu bus to Minamikasuga-cho. Walk 1.1 km
2. Get off Hankyu Katsura Station (West Exit) Take City Bus No. 2 to Rakusai-Koko Mae Walk 1.6 km

Sekizan Zen-In (赤山禅院)
When it comes to finding the perfect spot to view maple trees in Kyoto, Sekizan Zen-In (赤山禅院) comes with the highest recommendation. Located next to the Shugakuin Rikyu (修学院宮) imperial villa, Sekizan's colorful autumn leaves have become a notable attraction in the area. The Momiji Matsuri (紅葉祭：Autumn Leaves Festival) is held throughout November. On November 23rd, the temple offers a juzu kuyou (数珠供養：bonfire service for used Buddhist rosaries). Don't miss this chance, while the trees are in season! The temple area is made gorgeous in Autumn by the hundreds of red maple trees.
Inquiries: Tel (075) 701-5181
Admission: Free
Directions: Temple is located at 18 Kaikonboucho Shagakuin Sakyo-Ku, Kyoto.
7 minutes by taxi from subway Matsugasaki Station/ 20 minute walk from Eiden Shugakuin Station/ 15 minute walk from Shugakuin-Michi City Bus Stop

Y. Matsuda and M. Matsushita