Ezen Japan

Ezen Japan Sharing the art and culture of Japan

19/10/2025

🇯🇵🙏 Thank You 🇯🇵🙏

Our heartfelt thanks to the sumo wrestlers, the Japan Sumo Association, the organisers, and everyone who joined us over five incredible days at the Royal Albert Hall for the Grand Sumo Tournament 2025.

At the end of a sumo tournament (basho), after the final match and award ceremonies, the winning wrestler (the yūshō champion) performs a bowing ritual towards the four sides of the dohyō (sumo ring). This act is called shikiri rei (仕切り礼) or more specifically referred to as yokozuna rei (横綱礼) when done by a grand champion, though in this context it is often just called the final bowing ceremony or rei.

Meaning and Significance:
1. Respect and Gratitude – The bows are gestures of thanks to all directions — representing the audience, the deities, and the world — acknowledging the support of fans, fellow wrestlers, and the divine forces believed to watch over the matches.
2. Shinto Symbolism – Sumo has deep Shinto roots, and the dohyō itself is considered a sacred space. Bowing to the four directions aligns with ancient Shinto practice of honouring the four guardian spirits (Sh*tennō) or kami that protect each direction.
3. Closure and Purity – The act symbolically closes the ring, purifying it after the intense physical and spiritual energy of the tournament. It is both a farewell and a renewal gesture, returning balance to the space.

The strength, dedication, and spirit - brought the essence of Japan to London these past five days — a celebration of culture, respect, and harmony.

Arigatō gozaimash*ta! 🏯💫

18/10/2025

in sumō, when a wrestler’s belt (mawashi) becomes loose or undone during a bout, the situation is formally called a 「締め直し」 (shime-naoshi), which literally means “retightening” or “retying.”

⚙️ Context and Usage
• Term: 締め直し (shime-naoshi)
• From: 締める (shimeru, to tighten or fasten) + 直す (naosu, to fix or correct).
• Meaning: “to retie,” “to tighten again.”

🏯 How it’s handled in the ring

When the gyōji (referee) or shimpan (ringside judge) notices that a wrestler’s mawashi has come loose or is in danger of exposing the wrestler improperly, they will temporarily stop the bout.

1. The gyōji calls for a pause (the match is not restarted; it is simply suspended).
2. The wrestler adjusts or has the mawashi retied properly — sometimes with the help of attendants or the gyōji.
3. Once the belt is secure, the wrestlers return to their positions and the match resumes from a standing restart.

⚠️ Important note
A mawashi coming completely undone (which would expose the wrestler) results in an immediate disqualification (反則負け, hansoku-make) — this is extremely rare in professional sumō.

Therefore, the shime-naoshi ensures decorum and safety are maintained before it reaches that point.

An incredible evening at the Grand Sumo Tournament held at the Royal Albert Hall, organised by Askonas Holt. 🇯🇵🏯

We were deeply honoured to be invited to witness this extraordinary display of tradition, strength, and ceremony — a rare opportunity to experience the spirit of Japan’s national sport here in London. A heartfelt thank you to Askonas Holt for the kind invitation and for bringing such a remarkable cultural spectacle to the UK. 🙏

These prints, by different artists, share a common theme of warmth and playfulness, featuring puppies in charming scenes...
03/09/2025

These prints, by different artists, share a common theme of warmth and playfulness, featuring puppies in charming scenes. Through their playful depictions, the prints evoke feelings of happiness and nostalgia.

Nagasawa Rosetsu’s “Puppies and Bamboo in Moonlight” portrays a serene and enchanting scene of puppies amidst bamboo groves under the soft glow of the moonlight. Ogata Gekko’s print of puppies shows them engaged in playful activities, infusing the scene with a sense of lightheartedness. In Kawanabe Kyōsai’s “Kyōsai’s Drawings for Pleasure” the inclusion of scenes featuring puppies adds to the whimsical and humorous nature of the artwork.

There are six native inu, dog, breeds to Japan known as the Nihon-ken (Japanese dogs,) which are designated as a National Monument: Akita, Hokkaido, Kai, Kishu, Shiba, and Shikoku. Historically used for hunting and associated with physical labour, the Nihon-ken are talismans for safe childbirth, often made into papier-mâché statues called inuhariko.

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1
Title: Puppies and Bamboo in Moonlight
Artist: Nagasawa Rosetsu (1754–1799)
Date: c. late 18th century

2
Title: Puppies
Artist: Ogata Gekko (1859–1920)
Date: 1890-1910

3
Title: Kyōsai’s Drawings for Pleasure (Kyōsai rakuga): [volume 1]
Artist Name: Kawanabe Kyōsai (1831-1889)
Date: 1881

Part of Katsushika Hokusai’s Thirty-six Views of Mount Fuji, Noboto Bay (Noboto no Ura) displays a group of men and wome...
01/09/2025

Part of Katsushika Hokusai’s Thirty-six Views of Mount Fuji, Noboto Bay (Noboto no Ura) displays a group of men and women gathering shellfish under two torii (traditional Japanese gate to a Shinto shrine). Mount Fuji is framed by the main torii, subtly suggesting the latter’s sacred status. The coastal dunes and dwellings further lead the eye towards the distant mountain, further emphasising the mountain’s importance. The cool tones of the landscape, together with the misty clouds drawing out towards the sea, suggest it is autumn or winter. This is further hinted at by shellfish gathering usually taking place during colder months.

Hokusai has captured a clever display of Japanese traditional motives within this print. Mount Fuji is a sacred place, with a deeply ingrained role in Shinto and Buddhist religion. It is a site of spiritual pilgrimage, and a place where the kami(spirits) reside. Shellfish are an important part of Japanese cuisine, as well as forming part of special occasions and celebrations, such as being part of offerings to Shinto shrines. Upon first glance, this print seems to capture daily life in Edo period Japan, yet in reality it is a celebration of quintessential Japan.

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Title: Noboto Bay (Noboto no ura), from the series Thirty-six Views of Mount Fuji
Artist: Katsushika Hokusai (1760-1849)
Date: ca.1830-32

Utagawa Yoshifusa, a pupil of the renowned Utagawa Kuniyoshi of the Utagawa school, presents here a dramatic scene from ...
30/08/2025

Utagawa Yoshifusa, a pupil of the renowned Utagawa Kuniyoshi of the Utagawa school, presents here a dramatic scene from the “Tale of Heiji” — the story of a short civil conflict in Kyoto (1159–60) between rival clans. In this powerful composition, Yoshifusa illustrates the spirit of the slain warrior Akugenta Yoshihira (1141–1160), descending to take revenge on his murderer, Nanba Jiro.

The dynamic composition, with radiating lines and a strong vertical axis, emphasises the force and divine power of the lightning strike caused by Akugenta. The beams of light contrast strikingly against the dark background, highlighting the supernatural drama. On the left, the iconic Nunobiki waterfall, rendered in vivid blue, adds a serene yet dramatic counterpoint to the scene’s violent energy.

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Artist: Utagawa Yoshifusa (1837-1860)
Title: The Ghost of Yoshihira Taking Revenge on Nanba
Date: 1856

Part of Ogata Gekkō’s An Assortment of Women’s Customs series, this nun (likely a Buddhist nun or bhikkhuni) is enjoying...
28/08/2025

Part of Ogata Gekkō’s An Assortment of Women’s Customs series, this nun (likely a Buddhist nun or bhikkhuni) is enjoying a night stroll in nature. She looks out from between the bamboo foliage towards the full moon, her purple kimono contrasting against the shadowy greys and blacks of her surroundings. Gekkō’s oeuvre reflected the changing times of Meiji period (1868-1912) Japan, yet he still produced traditional and historic motifs. It is likely that this bhikkhuni is from before the Meiji era; nuns played a critical role in spreading Buddhism throughout Japan by living disciplined monastic lives, thus embodying classical Buddhist ideals. In Buddhist culture, bamboo and the full moon are symbolic of enlightenment. The moon may also represent beauty, luminosity, serenity, and detachment, further signifying her role as a nun within Buddhist life in Japan.

Ogata Gekkō’s work was heavily based on Kikuchi Yōsai’s work, who in turn was inspired by Hokusai. Eventually, Gekkō did develop his own style, using stylistic elements from the nihonga style (nihonga translates to “pictures in a Japanese style”). This term was coined during the Meiji period to differentiate Japanese prints from Western-style oil painting, or Yōga, as this was the epoch when Japan opened its borders after 200 years of the isolationist foreign policy (Sakoku) of the Tokugawa shogunate during the Edo period (1603-1868).

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Title: Nun in the Moonlight, from An Assortment of Women’s Customs
Artist: Ogata Gekkō (1859-1920)
Date: 1891

This misty mountain scene is a lesser known design by Takashi Ito (1894–1982), who was otherwise renowned for his depict...
26/08/2025

This misty mountain scene is a lesser known design by Takashi Ito (1894–1982), who was otherwise renowned for his depictions of the Japanese alps.

This composition, part of the early 20th-century revitalisation of Japanese printmaking, reflects the artist’s skill in rendering atmospheric depth and geographical form. Ito’s works are prized for their serenity and precision—evoking both realism and reverence for place.

Scroll to see another one of Ito’s alp scenes.

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Title: Mt. Kashimayari viewed from Mt. Happo
Date: 1932

Title: Dawn at Takegawa
Date: 1932

Chiura Obata, an influential professor at UC Berkeley and a Japanese-American artist, is renowned for his masterful fusi...
24/08/2025

Chiura Obata, an influential professor at UC Berkeley and a Japanese-American artist, is renowned for his masterful fusion of traditional Japanese techniques with Western art scenes.

In this print, a lounge chair takes centre stage, occupied by a relaxed cat sprawled comfortably on it. The composition captures a harmonious scene of everyday life. Surrounding the chair, vibrant plant and decorative elements in the background reflects Obata’s dedication to incorporating Japanese aesthetics.

Unlike conventional woodblock prints characterised by low-saturated, peaceful colours, Obata employs a bright and vivid palette. The artwork features a striking combination of greens, reds and yellows, creating a powerful visual impact and evoking a sense of liveliness.

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Artist: Chiura Obata (1885-1975)
Title: Cat on a Porch
Date: 1950

Thirty-six Views of Mount Fuji (Fugaku Sanjūrokkei) is a series of landscape prints by the ukiyo-e artist Hokusai (1760–...
22/08/2025

Thirty-six Views of Mount Fuji (Fugaku Sanjūrokkei) is a series of landscape prints by the ukiyo-e artist Hokusai (1760–1849). The series depicts Mount Fuji from different locations and in various seasons and weather conditions. The series was produced from c. 1830 to 1832, when Hokusai was in his seventies and at the height of his career.

Mount Fuji is a popular subject for Japanese art due to its cultural and religious significance. This belief can be traced to The Tale of the Bamboo Cutter, where a goddess hides the elixir of life on the peak. Mount Fuji was seen as the source of the secret of immortality, a tradition that was at the heart of Hokusai’s own obsession with the mountain.

Scroll to view a selection of prints from the series showing Mount Fuji from different perspectives and seasons.

Follow @‌ezenjapan for daily discoveries of Japanese art and culture.

1
Title: Goten-yama-hill, Shinagawa on the Tōkaidō’
Artist: Katsushika Hokusai (1760–1849)
Date: ca. 1832

2
Title: Mishima Pass in Kai Province
Artist: Katsushika Hokusai (1760–1849)
Date: ca. 1830

3
Title: Thunderstorm Beneath the Summit
Artist: Katsushika Hokusai (1760–1849)
Date: c. 1830–1832

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