Edhiri (Vijay Sethupathi, Prakash Raj – directed by Bejoy Nambiar)

Summer of ’92 (Yogi Babu – Directed by Priyadarshan)

Project Agni (Arvind Swami, Prasanna – Directed by Karthik Naren)

Payasam (Aditi Balan, Rohini, Delhi Ganesh – Directed by Vasanth)

Peace (Bobby Simha, Gautam vasudev menon – Directed by Karthik Subbaraj)

Roudhram (Rithvika, Sree Raan – Directed by Arvind Swami)

Inmai (Siddharth, Parvathy – Directed by R.Prasad)

Thunitha Pin (Atharvaa, Anjali – Directed by Sarjun KM)

Guitar Kambi Mele Nindru (Surya, Prayaga Martin – Directed by Gautam Vasudev Menon, Music by Karthik)

I’m just going to stick to the basics. Just basics.  

I will just stick to talking about a few episodes. Does Not mean the rest failed to impress, they did but not as much as the below did to me – just my personal opinion.

Just as usual, here it is the way it hit me. Closely. One thing that was common for all episodes though. The picturization is extraordinary and watching on a HDR compatible screen was bliss with zero light. Am glad I am living that tech life – next gen will take it for granted, only we know the humble beginnings of CRT screens with Antennas that asked to be rotated every now and then. I was ecstatic  when the regional film was Tamil on a Sunday along with an evening movie. It was a lucky day. From there, watching the rich HDR directed by  favs IS transition. 

Guitar Kambi Mele Nindru (Surya, Prayaga Martin – Directed by Gautam Vasudev Menon, Music by Karthik)

Oh man, this is the last episode of the series and I thought what magic Gautam can do after those nice 8 episodes and I reluctantly looked at the clock showing 1:00am in the night and oddly a longer episode in the series (about 48 minutes compared to 30+ for others). I couldn’t leave it lingering as it’s from Gautam. 

Initially I thought Surya looked odd with the wait he gained and the unsuitable hair – but trust me, it grows in you as it progresses. Gautam sir, I know it’s not the perfect love scenes in your movies but they are as nearly as it can get compared to any other movies/directors. And I am a sucker for love. This is a story about love that defies the speed of law of attraction but with right chemistry mixes. My grin started soon and it just stayed until I watched the credits and I was looking for the name of the girl. She is bubbly and has a deep voice that did something and even tried to be on par with Surya’s magical voice. 

Am not going to write about any other music directors here (despite the initial title score by my favorite ARR and he even scored for one of the episodes). Maybe Karthik did some magic with the music in this episode that made me ignore about the rest. Generally this genre is tricky – Music and movies of musical types and am not a big fan to be honest (except for the love part). But here, gosh, it’s like watching the competition of who is doing what. Gautam sir, I reckon you found a music director who can really look deep into your feelings and narrations and is as good as ARR. 

Just a few days back I saw a funny tweet – Gautam sir doesn’t know how to give good titles, and looking at this title I chucked – but it’s classy and away from the usuals. 

It’s going to be spoken for a very long time. The impact in that 48 mins is too much and I loved every minute of it. 

Project Agni (Arvind Swami, Prasanna – Directed by Karthik Naren)

Who wants a world class mind bending story in Tamil – Here it is. Started subtly and shocked as it moved and asked many questions. I know Elon Musk often tweets that we are in simulation. The core was on it and I tried to explain with nice tricks. Arvind Swami played it so cool with the dialogues and made it super impressive. Not even a second they took us for granted or gave a chance for mockery. Prasanna supported well and I loved every minute of the story and turns. 

Inmai (Siddharth, Parvathy – Directed by R.Prasad)

On Sid, you are going to be like Madhavan I guess, you will age finely just like wine. Your screen presence is beautiful and a story like this – you made it believable and I was with your bluff until the end, until your final explanation. Parvathy, – she is a treat to watch on the screen – that acting is so fitting and natural. This has potential to be a movie itself. The details of the visual and the storypath are stunning as they are mostly in the unchartered territories.

Payasam (Aditi Balan, Rohini, Delhi Ganesh – Directed by Vasanth)

It’s another nostalgic journey where I was glued to every bit of the details. 

Summer of ’92 (Yogi Babu – Directed by Priyadarshan)

It started subtle again and in no time the nostalgia kicks in with superb visuals and to an era which I wish I really lived into.

It’s beautiful with its visuals and equally funny.

The post Navarasa – Another Netflix journey into emotions appeared first on Travelogue of a daydreamer.

I didn’t expect I would be going to the theatre again for another Dhanush movie (I rarely hit theatres for Tamil movies). Only difference this time is, I didn’t go for Vetrimaran and Dhanush combination. From the initial portraits, the movie indeed sounded like slightly depressing type – which by all means I try to run away as I have my own share of problems.

Still, I booked my ticket in Golden Village for a late night show promptly despite the seat being in the first 3 rows. It was all worth it.

As usual how I perceived it.

Mari Selvaraj

No matter what, I often started thinking from the director’s perspective often due to the efforts he had put in there. It’s grand, powerful and the flow was too good. I will try to reveal less as much as possible. His nuances with a donkey and the usage of Dogs (yes, continuing here also after the Pariyerum perumal) and the weaving of the story with the elements and the consciousness were the mute points where we the audience get time to process those thoughts and immerse into the story further. This is the reason, he gets to mentioned first in this post. Portrait of the awful and ugly society and the impact in those days couldn’t expressed better really.

He was subtle in so many way to avoid conflicts but if you like movies, you will fill in the gaps and understand every possible thing he is leading to. This is like the reading of a book which is more powerful than the movies because ‘you’ get to visualize based on your understandings. With the small subtle leads, he does exactly the same.

Dhanush

It’s extremely rare that I don’t mention Dhanush in the first paragraph. In this movie, he just merged into the character and did what best he does. His screen presence does have some magic. His transitions at the various stages were beautiful and clearly distinguished. Rest of the actors also did their best to be honest.

Somehow, I always like him due to the commitment he fixates into any character and never I have seen him as typical mass heroes with least preferred so called ‘dialogues’. Even in the neo comical movies like ‘Mari’ and its sequence, he played a cool role. His action was echoing from his voice, body and lot more – in the eyes. Its mesmerism to watch him on the screen and this movie is not any different.

Santhosh Narayanan’s music

Santhosh Narayanan’s initial releases itself stirred enough curiosity. Despite the genre, I went back multiple times to hear “Kanda vara sollunga” songs. They were really impactful even to listen to just the songs. In the movie, he did not overshadow the actors or the direction but gently weaved with it and supported greatly.

By all means this movie was grand and inspirational. The story was simple but very powerful. It touched up on the caste system and its chaos in the most subtle ways. Maybe that the great impact was due to that. I went through twitter and there were mixed bags of thoughts on the subject of the movie while everyone agreed that this is a great watch. In my humble opinion, it’s everyone’s duty to watch this movie and learn the struggle of the past and respect what has been eradicated and being eradicated. It may not be the same struggle as the freedom fight with the British, but this has its own merit and in multitudes.

It was really painful to see the struggle while I wondered how easy it was for those who lived in towns and cities. We weren’t even aware of any biased treatments for any different classes in those times. Mari Selvaraj has barely got in and is already making big waves.

The post Karnan – Powerful, eye opening & classy appeared first on Travelogue of a daydreamer.

..and all these started when I started designing below cards..

The post My photoshop works appeared first on Travelogue of a daydreamer.

You never saw me before.
I loved my life.
I really loved it.

Nympomaniac

Love is not asked for, erotic is asked for. (Love comes automatically)

There are only two kinds of people. who starts cutting nails in left hand first and the other. Those who start with left hand, want to do the easiest things first

Love appeals to the lowest instincts, wrapped up in lies.

House MD
Do you know why people are nice to other people?
Oh, I know this one! Because people are good, decent and caring.
Either that, or people are cowards.

Random

Freedom is not about the size of your
cage or power of your wings or non attachment to a person
or a thing.
Freedom is about being truly, madly and deeply attached to
your own soul that you can’t bear – if only for a moment – a life
that doesn’t honor it.
– Andrea Bait

The post ..my fav quotes from Movies/Books appeared first on Travelogue of a daydreamer.

It’s been a while since I watched a Tamil Movie (thanks to covid, nothing is coming out). When the Maara trailer was released I felt it should be something I needed to watch as it was a little poetic. Say less, am all ears (with a cheek aching grin as well) for such. I say the same for most of the good movies except the grin. Grin comes only for the light-hearted stuff.

and I resumed the movie (yeah, curiosity had me glued for a few starting minutes the previous day). The grin continued. What to say, it’s all magical (Neither hogwarts level nor a practical story). Its wonderful Dilip kept the line balanced.

I haven’t see the Charlie (Martin Prakkat) or Dev (Marathi – Murali Nallappa). I need to give credit to the original version and slightly wishing that I had seen the Charlie (original) first.

As usual the way I retained the movie in memory –

Director – Dhilip Kumar

Honestly I haven’t heard it but it seems like a second movie for him and he has done a wonderful job. There is absolutely not a single moment of snag. Movie kept me glued to the screen (with a grin) throughout. There were no uncomfortable moments, cheeky dialogues or exceedingly glamourous scenes. Even where they were required, it was presented elegantly so that you can watch with complete family. Thank you! Amazing job. Especially remaking something this kind is enormous pressure.

Madhavan

I have no words – He is aging like a fine wine. He gained weight, half of the beard is greyish, yet he looks the most handsome teddy bear that any girl would want to hug at first sight. That’s a blessing I guess. His charm is there in almost every scene he occupies and our eyes just stick to him even when dialogues are not with him. He did justice to the role.

Mouli

The subtle and gentle acting cant get any better, we start to be fond of him and ‘Meenakshi’ in no time. His long experience makes him walk the character so smoothly and makes him live the character. Especially towards the last quarter of the movie he made my eyes wet multiple times (am still with the grin). Great acting!.

Shradda Srinath

She is young and lively throughout the movie. Just with right acting and elegant eye catching dresses as she wanders to find Maara, we also tag along and go with her. She is a doll!

Sshivada

Initially started off as just a character in the movie and then she occupies a good chunk of the movie. She is gorgeous and more than that, acting is really noteworthy. There were some of the tight crying scenes and she pulled through nicely. She even steals the scenes where Shradda shares the screen with her, at times.

Abirami

She is always gorgeous and time hasn’t done any damage at all. She did a pretty decent job even for the tiniest time she has got in the movie.

Alexander Babu

Absolutely comical scenes whenever this guy came in. His accent is quite unique (am long due for writing about ‘Alex in Wonderland’ – which is really beyond amazing and extremely unique). Hope to see him in more movies here.

Cinematography (Dinesh Krishnan, Karthik Muthukumar)/Locations/Music(Ghibran)

Maybe this movie is extra special because of these guys on top of the lovely story. Be it the coastal town or the green capped tea-estates, I wished to see them on IMAX screens.

The post Maara – Poetic, magical and near fairytale appeared first on Travelogue of a daydreamer.

Lets say I try to avoid family drama genres, as my own is enough. When Netflix announced the the latest Tamil series Paava Kadhaigal, I couldn’t help but set a reminder for the show.

When it popped during daytime yesterday, I promptly kept it for late night watching without realizing I would finish this in just one sitting.

The title reveals just the tip of the iceberg. It had 4 episodes and each touched or tore my heart slowly and strongly by each part. They were nicely done and the directors took it to new level like an obedient school student with school assignments. Yes, each episode is about a topic – Pride, Love, Sin, Honour respectively.

Episode 1: Thangam

Proving in short movies (or a 30 mins+ episode) is a hit or miss for anyone. But from the first frame, till the last, Kalidas Jayaram occupies the space and our heart. Really well done, not bit less and not a bit more. Those painful eyes or the happy sparkling, he did his best and am sure he would be well recognized for this.

Shanthanu’s subtle screen presence yet powerful carry the play with the utmost maturity he could use. His acting is really notable in the smallest expressions in many frames.

Back to Sudha Kongara and Shan Karuppusamy, – I have no words other than telling them a big thank you to bring out yet other society’s non-sense to the limelight. They really won by miles when we truly disgust the society for what it is.

Episode 2: Love Panna Uttranum

Anjali!! – Somehow I feel she is underrated but has many followers. Again in a short episode with double acting roles, she did justice to both roles. She looks ravishing in one role and like a cute little cat in another.

Kalki’ Koechlin did her best with her mesmerizing voice and broken Tamil which befitted the character perfectly. Astonishingly those swear words were pronounced perfectly by her.

and Vignesh Shivan – thank you for bringing out yet another honour killing story realistically. There were moments were my heart beat excessively and wished really to stop the inevitable.

Episode 3: Vaanmagal

When I saw the name Gautham vasudev menon, I was even more into the next episode and my brain was in no mood to ask for sleep by any means. I have a thing for Gautham vasudev menon – for any of the genres. I loved his underrated Neethane en Posantham as well just like any other movies. I thought I will write about Simran first, but here it goes. This episode was shocking and brought out pain that really took time to recede. He tried to add his usual action a bit but the former leaves some lasting pain which wasn’t interested in any revenge action. As a director he gave a serious punch and as an actor, he did his best for a middle class husband. I even had doubt if he had Ajith in mind for leading character. He looks sharp and speaks sharp but fails to reach the last mile – but again, we wont even notice that.

Simran – She is aging like a fine wine. Her acting is the proof that years of experience and the expression is not missing even the slightest thing. Her acting and screen presence is mesmerizing to watch. I can reckon this one of the best performances in the whole series.

Aditya bhaskar – the little one that got us in the movie 96 played a role and again its a pretty decent performance.

Episode 4: Oor Iravu

Where to start – I cant start with either one of them (Sai Pallavi/Prakash Raj/Vetrimaran). I have to start somewhere though.

Sai Pallavi – Lets say am one of those good contributors to her song ‘Rowdy Baby’ to hit 1 billion views. She has that next door girl charm and bit more with those sparkling eyes and a lot more with her dance. The maturity of the level of acting should be comparable to award winning and the voice that expressed the pain literally was churning my stomach and I was extremely uncomfortable with the powerfulness of the story. She did an amazing job and my only wish is genuinely to take it out of memories soon so that I can move on with my life without the ridiculous flashes of honour killings.

Prakash Raj – I don’t even have any sort of eligibility to talk about his acting. He fitted himself like the skin to his own flesh to the character. Be it the uncertainty or the deep pain inside his heart or the hinting at the cunning other side of the character – I guess he didn’t even try hard but effortlessly expressed and its evident in the screen. Great acting!

Vetrimaaran – As much as I like Gautham Menon, I like vetrimaaran even more seriously. I have nothing but huge respect for him and every one of his movies. I go to theatres only for directors like him. They make it count, really. This episode was final nail in the coffin for that emotional journey. The previous episodes were overwhelming and this was twice of them by comparison. He captured every uncomfortable detail, in detail from the so called honour killing. If people still have humanity this one episode can change their mentality at least in part. My respect to him is even more now. Please continue to do more and that changes the lives. Thank you.

The post Paava Kadhaigal – An emotional journey appeared first on Travelogue of a daydreamer.

Phew.. This is my last article for the Japan, and am sure it brings immense pleasure and content that I did it. It was painful to type the articles, cross reference the doubts, type info from pictures and also from any sheets that I got during visits, sorting out pics, process them with adobe Lightroom and finally plug them all here. Its quiet a journey, but am genuinely happy that I did it.

After the visit to the Nijo castle, I took a taxi to Kyoto Imperial Palace and got dropped at North entrance. As it was quiet early, I got some good pics without people. Again, am not sure why this was not in the top lists of Kyoto. This is super huge and people can spend easily half a day at the least here. I took long walks and covered as much possible with the glimpse of Gyoen National Garden.

The Kyoto Imperial Palace (Kyoto Gosho)

This was the residence of the Japanese emperors until 1869, when the capital was moved to Tokyo during the Meiji Restoration. The history of the Kyoto Imperial Palace can be traced back to the late 8th century, when Emperor Kanmu moved the capital from Heijo-kyo (Nara) to Nagaoka-kyo in 784 and then to Heian-kyo (Kyoto) in 794.

The boundaries of the ancient capital city of Heian-kyo formed a rectangle measuring 5.2km from north to south and 4.5 km from east to west. The emperor’s residential inner palace (dairi) was located inside the greater palace (daidairi), a large, walled complex that included the ceremonial buildings, government offices and the inner palace. When the inner palace was damaged or destroyed by fire, the mansions of the aristocracy would provide temporary accommodation for the emperor, as a temporary Imperial palace (sato-dairi).

The site of the present Kyoto Imperial Palace was originally one of these temporary residences, called Tsuchimikado Higashinotoin-dono. This site has served as the permanent Imperial Palace for over 500 years, since Emperor Kogon was enthroned here in 1331, until the capital moved to Tokyo in 1860. During those 500 years, the palace was plagued by fire and was reconstructed several times. The present structures were reconstructed in 1855. This palace was no only home to Emperor Komei (1831-1867) and his successor, Meiji, but also the stage for such important historical events during the Meiji Restoration.

The present Kyoto Imperial Palace is a rectangle measuring 450m from north to south and 250, from east to west, surrounded by an earthen wall, covering an area of 11 hectares.

Carriage porch was reserved for the exclusive use of high ranking courtiers when they attended court rituals or had an audience with the emperor.

Shodaibunoma (Waiting rooms)

The three rooms of the Shodaiby-no-ma served as waiting rooms, with visitors allocated to one of the rooms according to their ranks. In descending order of importance, these are the Room of the Tigers, the room of the Cranes and the Room of the Cherry Blossoms, named after the paintings that adorn the sliding doors of each of the rooms. Differences in status are also expressed in the use of different colored tatami mat edgings. Visitors who were to to use the Room of the Tigers or the Room of the Cranes were allowed to use the Carriage Porch, while those using the Room of the Cherry Blossoms entered the room directly from outside using stepping stone located to the left of the building.

Shinmikurumayose (New Carriage Porch)

This carriage porch was newly built in 1915, for Emperor Taisho (1879-1926) to make an entrance and exit on a carriage when the emperor’s enthronement ceremony was held in the Shishin-den. The carriage porch faces south, following the tradition of emperor’s entering and exiting from the south side of the Kyoto Imperial Palace.

Shisinden (Hall for State Ceremonies)

The Shishinden is the most important building in the Kyoto Imperial Palace. The most important state ceremonies such as the enthronement of the emperor were held here. The current building dates from 1855 and revived the building style of the Heian Period (794-1185), in order to accommodate ancient ceremonies. The Chartere Oath, a five article statement outlining the aims of the reign emperor Meiji, was promulgated from this building in 1868. This Oath can be regarded as the first constitution of modern Japan. The present building was used fro the enthronements of the Emperors Meiji (1868), Taisho (1915), and Showa (1928). The southern courtyard, enclosed by colonnades, was also important as a place to hold ceremonies. Viewed from the vantage of the throne, the Shishinden’s central staircase is flanked to the left by a left-cherry-tree and to the right by a right-mandarin-orange-tree.

The Emperor’s Throne and the Empress’ Throne

The throne standing in the centre of the Shishinden is the emperor’s throne (takamikura), with the empress’ throne (michodai) standing to the right. These thrones are used especially during the enthronement ceremony of a new emperor. The present thrones of the Emperor (takamikura) and Empress (michodai) were made in 1915 for the enthronement of Emperor Taisho and were used for the enthronement ceremonies of Emperors Taisho, Showa and Heisei. Currently the thrones are in the Imperial Palace in Tokyo because the enthronement ceremony of His Majesty the Emperor will be held there.

The emperor’s throne itself stands on a black lacquered platform surrounded by red-lacquered balustrades, under an octangular canopy supported by eight columns. There is one large and eight small Phoenixes adorning the canopy. The phoenix is an Imperial symbol. The empress’ throne is a very similar structure to that of the emperor, but is about 10 percent smaller in size.

Kenreimon (Gate)

Kenreimon Gate is the south facing main gate of the Kyoto Imperial Palace. It was used for important rituals held in the Shishinden such as the enthronement ceremony.

Seiryoden (Hall of Ceremonies)

The Seiryoden was the living quarters of the emperor starting from the 10th century. Important religious observances and political affairs were also conducted here. After the construction of the Otsunegoten imperial residential quarters in 1590, the Seiryoden was used almost exclusively for rites and rituals. In order to stage traditional rituals, the mid-Heian period architectural form and the interiors adhere to more ancient rules. The thick tatami mat placed in the center of the building is where the emperor was seated (hinoomashi).

Kogosho (Palace for Ceremonies and Imperial Audiences)

The Kogosho was built during the Kamakura period (1185-1333), and was used in the Edo period (1603-1868) to hold ceremonies and for imperial audiences with members of the governing samurai class (buke). This building is famous as the place where discussions were held on how to deal with the Tokugawa Shogun in 1868 during the Meiji Restoration. The building is divided into three rooms each higher than the next, surrounded by a wide wooden corridor, making the Kogosho a very practical building capable of accommodating many different ceremonies. The current Kogosho was rebuilt in 1958 after it burnt down in 1954.

Oikeniwa (Garden)

The Oikeniwa Garden is a strolling garden, and has a large pond. On the right side of the garden, you can see the wooden Zelkova Bridge (Keyakibashi bridge). The shore covered with pebbles is called suhama meaning beach and flat rectangular stones are the place where a boat anchored.

Ogakumonjo (Place for study and other Ceremonies)

The Ogakumonjo was separated from the Seiryoden in 1613. This building was used to hold academic events such as the ‘First Reading Ceremony’ for the crown prince (Odokusho hajime) and waka poetry gatherings, as well as for imperial audiences. In 1867, Emperor Meiji met here with the Imperial princess and his retainers, and issues the ‘Decree for the Restoration of Imperial Rule”, a pivotal event in the Meiji Restoration. The interior is divided into 6 rooms, including an upper, middle and lower room, all covered with tatami mats.

Otsunegoten (Imperial Residential Palace)

The living quarters of the emperor, the Otsunegoten was originally located inside the Seiryoden, but was removed to a separate building in 1590. As well as being the living the quarters of the emperor, there are three rooms on the south side of the building, the upper, middle and lower rooms, which were used for rituals and imperial audiences. The building consists in total of fifteen rooms, including the imperial sleeping chamber and the room where the Sacred Sword and the Jade (two of the Three Imperial Regalia of Japan) where kept.

Gonaitei (Garden)

This elegant garden was exquisitely designed with the meandering stream spanned by the earthern and stone bridges as well as lanterns and stones.

Back to my own words,

After these 2 palace visits, we checked out of the hotel and tried to for shopping nearby. However, we returned back to the lounge of the hotel and booked couple of taxis to get dropped at the Kyoto station. All worked out like clock work and in no time, we were resting at the Haneda airport. Our flight was by 2:30am in the next day, so had enough time to explore the restaurants that were open by 11pm and settled down. Our flight was on time and got us back to SG that morning. A beautiful episode of the rainyHills got to an end then.

The post Kyoto imperial Palace appeared first on Travelogue of a daydreamer.

This was our last day in Japan (technically not – with a post midnight flight). Again, I carried my camera and rushed to a early morning stroll alone with the intention to quickly cover Nijo castle and Kyoto Imperial palace. My earlier reading on many web pages conveniently ignored or hasn’t prioritized these two – hence, I just wanted to get some pics which made me to go at the last minute. Well, well, well. Comparatively these 2 places are more crowded and more spacious than anywhere we went in Kyoto. While am glad that I got some hint of it but felt bad that this went off the radar during preparation.

A funny incident happened. I was in a rush and a complete not-me-type scenario; while getting dropped at the Nijo castle, left the phone in the taxi. After a minute, I realized and ran to the guards to tell that, but he understood nothing but focused on getting me off the drop-off lane to the walkway for security purposes. I thought for a quick second and saw that the main road (with 4 lanes) that was holding cars with the traffic light. I took my chance, ran like anything while trying to recollect what kind of taxi it was and the color (it was too subtle so didn’t stay in mind). Just when cars started moving after the green light, I found what I believed the taxi that I was riding. Well, these posts (Japan) has pics and videos from phone, so you know I got it. Must have been the luckiest day in the year. The mad run was not just about the phone at all, I wasn’t sure if my google photos synced them with hotel wifi. I didnt take chance and am glad, I didn’t.

Nijo castle

After collecting myself together, got the entry ticket (yeah, one of those place to buy tickets to gain entry) for the castle. Truly one of the most beautiful, well kept, real royal but small castle that has little bit of everything. Though I was short on time, I managed to cover every bit of castle including the garden and took a stroll. Following is bit long article about Nijo castle, but I had to type for safekeeping.

The History of Nijo-jo Castle

Nijo-jo Castle has witnessed some of the most important events in Japanese history in the 400 years since it was built. The castle was completed in 1603 on the orders of Tokugawa leyasu, the founder and first Shogun of the Tokugawa Shogunate (1603-1867). Tokugawa Ieyasu unified Japan after a long period of civil war, and ushered in a period of over 260 years of peace and prosperity. The government that Ieyasuu established lasted for for fifteen generations, and was one of the longest periods of stability and prosperity in Japanese history.

Japan was unified under the rule of the Tokugawa family after the Battle of Sekigahara in 1600, and in 1603 Tokogawa Ieyasu was appointed Seii-Taishogun (usually shortened to just Shogun – see [5] below), by the Emperor. After receeving his appointmnent Ieyasu came to Nijo-jo Castle to announce his appointment to the feudal lords. Nijo-jo Castle was thus the stage for the announcement of the beginning of one of the most important periods in Japanese history. The castle served as the Kyoto residence of the Shogun on the very rare occasions when he visited the Imperial Capital. When the Shogun was not in residence, the Nijo Zaiban samurai guards, who were dispatched from the Shogun’s capital at Edo (present day Tokyo), were garrisoned at the castle.

In 1614, Tokugawa Ieyasu departed from and returned to the castle in triumph from the Siege of Osaka Castle, which ended the line of the Toyotomi family, which ruled Japan before the Tokugawas. This cemented the position of the Tokugawas as the political rulers of Japan. A large-scale renovacation was begun in 1624, during the reign of the third Shogun Iemitsu, in Iemitsu, in preparation for an Imperial visit by the Emperor Go-Mizuno-o in 1626. This visit served as a statement of the wealth and stability of shogunal rule. In 1867, the 15th Shogun, Tokugawa Yoshinobu summoned the senior vassals from 40 domains who were resident in Kyoto to the Ohiroma of Ninomaru-goten palace and announced the end of Tokugawa rule, and the returning of political control to the Emperor. This ushered in the Meiji period, during which Japan developed very rapidly from a feudal society into the modern democratic nation that we known today. The Nijo-jo castle thus staged the opening and closing ceremonies of the last period of feudal rule, as well as being the starting point of the creation of the modern Japanese State. The 400-year old buildings of the Ninomaru-goten Palace, the Kara-mon Gate and the Ninomaru Garden, are unique survivals from one of the golden ages of Japanese architecture and design, the early Edo period, known for its ornate architecture and magnificent interiors.

The restoration of the Imperial Rule

In 1867, the end of the political rule of the Tokugawa Shogunate and the restoration of power to the Emperor was proclaimed at Nijo-jo Castle. At the end of 18th century, the arrival of overseas delegations demanding the opening of Japanese ports forced the Shogun to sign treaties bringing an end to approximately 200 years of Japanese isolation from the outside world. The Shogun decided to seek approval for these treaties from the Imperial Court, which caused considerable confusion since it questioned the authority of the Shogun.

Samurai mainly from southern Japan plotted to bring an end to the Tokugawa Shogunate and to return political power to the Emperor by force. In response, the 15th Shogun, Tokugawa Yoshinobu, summoned senior vassals from 40 domain who were resident in Kyoto to the Ohiroma of Nonomaru-goten Palace on October 13, 1867, and solicited their opinions. On the following day, the Shogun announced his intention to return his political authority to the Imperial Court, which was accepted by the Emperor on October 15, 1867. Although there was some resistance, including outbreaks of warfare, Edo Castle was handed over to the new Imperial Government without bloodshed in the spring of 1868, marking the end of the Tokugawa period and the beginning of the modernization of Japan. Political power was thereby restored to the Emperor, and the Meiji period began. Thus, this is known as the Meiji Restoration.

Chronological events of Nijo-jo Castle

1601 – Ieyasu Tokugawa assigns the daimyos (Japanese feudal lords) of Western Japan to Construction on Nijo-jo Castle
1603 – Nijo-jo Castle is completed and Ieyasu enters for the first time.
1750 – In August, the keep tower is lost to fire by a lightning strike.
1867 – In October, the senior retainers of various clans gather in Ohiroma of Ninomaru-goten Palace. Yoshinobu announces his intention to restore imperial rule.
1884 – The castle becomes Nijo Rikyu (Nijo Imperial Villa)
1915 – The state ceremony for the coronation of the Taisho Emperor is held. The main banquet hall was constructed in preparation for the great feat and the Minami-mon (south gate) was added.
1939 – The IMperial Household Ministry grants Nijo-jo Castle to the City of Kyoto.
1994 – Nijo-jo Castle is registered on the UNESCO World Heritage list.
2011 – Nijo-jo Castle undergoes full-scale restorations

Shogun

Rule by the Imperial Court was formalized in the 4th century, with the first permanent imperial capital established at Nara in 694. When the first samurai government was established in Kamakura in 1185, actual political rule was taken over by the samurai, with the Emperor maintaining his position as the head of the state. The head of the Kamakura samurai government was granted the title of the Seii-Taishogun, later abbreviated to just Shogun. The Shogun was very ancient court appointment dating back to the 8th century and roughly equivalent to a genralissimo, or commander-in-chief. The appointment was originally temporary, lasting for the duration of military campaigns to suppress the rebellious provinces in north east Japan. After 1192, it become a permanent position given to the political rule of Japan and was held by three samurai governments: The Kamakura shogunate (1185-1333), the Muromachi shogunate, which ruled from Kyoto (1336-1573) and the Edo (Tokugawa) Shogunate (1603-1867). Nijo-jo Castle was the symbol of Tokugawa shogun in the Imperial Capital.

Seiryu-en Garden
The garden was laid out in 1965, using some of the buildings, trees and stones from the garden of the Kyoto mansion of the wealthy Suminokura merchant family. Seiryu-en Garden is a fusion of Eastern and Western styles. The Japanese gardeb features two tea houses, the Koun-tei and the Waraku-an, and is complimented by the lanes of the Western-style garden.

Keeper tower
A 4 story tower with 6 floors inside, used to stand at the south-west corner of the Honmaru. The keep tower was moved here from the Fushimi Castle in southern Kyoto. In 1750, the tower was struck by lightning and burned down. In was not rebuilt, but the stone ramparts on which it previously stood still remain and provide expansive view of the Honmaru-goten Palace, Honmaru gardeds, and the city of Kyoto.

Honmaru-goten Palace and Gardens
The present Honmaru-goten Palace was moved here inside the inner moat of the Nijo-jo Castle in 1893, from the Katsura-no-miya Palace, which stood in the northeast section of the grounds of the Kyoto Imperial Palace. It is a very rare survival of the palace architecturall style of an imperial princely family and as such has been designated as an importan cultural property by the Japanese government. The Honmary garden to the south of the the Oalace was created on the occasion of a visit by the Emperor Meiji (1852-1912) and later redesigned. Pathways winding through the lawns and a shill in the southeast corner provide pleasant backdrops to enjoy the changing of the seasons.

Ninomaru Garden
The Ninomaru Garen was redesigned by the Kobori Ensu, the commissioner of woks for the 1626 Imperial Visit. It is a classical Shoin-zukuri style garden, with a large Horai-jima island (symbolizing Paradise) flanked by a crane island and turtle island, both metaphors for longevity. The garden was redeigned to be viewed from three different directions: from the Ohiroma and Kuro-shoin of the Ninomaru-goten Palace, and from the Gyoko-goten Palace.

Nijo-jo Castle Painting Gallery
The original wall paintings from the Ninomaru-goten Palace are on display here, allowing visitors to view the paintings up close. The exhibitions change quarterly and the museum is open 240 days a year.

Higashi Ote-mon Gate (East Gate)
This is the main gate to the castle. It is thought to date back to 1662. When the castle was first built, the main was a yagura-mon (2 storey gate) much like the current one. The gate was altered for the visit of the Emperor to a one-storey gate, so that none would be able to look down up on the Emperor from above, a long standing taboo in Japan.

Tonan Sumi-yagura (South east watch tower)

The watchtowers at the four corners of the outer moat of Nijo-jo caslte were built as lookouts, and were normally used as armories. Many of the water towersw were destroyed in a first in 1788, and today only the southeast and southwest watch towers survive.

Kara-mon Gate
The Kara-mon gate stands at the entrance to the Ninomaru-goten Palace. Gate architecture is used to indicate status, with the Karamon gate representing the highest status, indicated by the cusped gable to the front and back of the roof, and the use of cypress bark rather than copper or tile for the roofing. The gate has four supporting pillars, and has magnificent and brilliantly colored carvings of cranes, pine, bamboo, and plum blossoms, symbolizing longevity. The carved lions protect the Palace. A 2013 restoration returned the gate to its former glory.

Ninomaru-goten Palace
The Palace consists of six connected buildings arranged in a diagonal line from the southeast to the northwest. The Palace has 33 rooms and over 800 tatami mats, and is decorated with paintings by the Kano school (replicas), subjects include the Matsutaka-zu (Pine and hawk), tigers and leopards, all of which stress the authority of the Shogun, as as the cherry blossoms and other flowers representing the four seasons.

Ninomaru-goten Palace Paintings
There are over 3600 wall paintings inside the Palace, including many from the Kan’ei period (1624-1644). 1016 of these paintings are designated as important cultural properties. The Kan’ei period murals are by the young master painter Kano Tan’yu of the Kano School of painting, which enjoyed the patronage of the Tokugawa shoguns. They were painted when the castle was remodeled for the Imperial visit by the Emperor Go-Mizuno-o in 1626.

The Palace consists of six connected buildings, and is archetypical of the shoin-zukuri architecturak style, which was perfected at the beginning of the Edo period (1603-1867). The Palace is designated as a national treasure since its is the only surviving example of a fortified palace complex. The interiors of the Palace are magnificiently decorated with wall paintins by the Kano school, intricately carved transoms between the rooms, and exquisite metalwork fittings, befitting the Kyoto residence of the Shogun.

Tozamurai Ichi-no-ma, Ni-no-ma, San-no-ma (First, second and Third rooms)
The first and largest section of the Palace, the Tozamurai served as waiting rooms for feudal lords when they visited the Palace. The first thing that the visitor to the Palace saw, the grandeur of these rooms, with their paintings on gold of ferocious tigers, was designed to express the authority of the Tokugawa Shogun. These rooms were also known as the Tora-no-ma or tiger rooms for their wall paintings.

Shikidai (Reception)
The Shikida reception room connects the reception areas of the Palace with the formal audience chambers and it was here that visitors to the castle would present gifts to the Shogun. Any business or messages for the Shogun were also first communicated here. This building is divided into a front section known as the Shikidai-no-ma and a rear section is called the Roju-no-ma (Senior councilors’ room). Feudal lords would meet with the senior councilors here. The pine trees are an auspicious metaphor for everlasting prosperity.

Ohiroma San-no-ma (Third room)
The openwork carvings between rooms and the rooms of the Ohiroma are particularly noteworthy, being carved differently on either side of a single piece of cypress wood over 35cm thick. Also worth noting are the decorative metalwork fittings adorning the horizontal beams (nageshi) of the room. They are made of decorated and gilt copper, in the form of bouquets of flowers wrapped in paper as a gift.

Ninomaru-goten Palace Nightingale Corridor
The floorboards of the Palace sound like the song of a nightingale when people walk down the corridor. This is caused by clamps moving against nails driven into the wood beams supporting the floor. It is said, mistakenly, that this was intended to announce the presence of intruders.

Ohiroma Ichi-no-ma, Ni-no-ma (First and second rooms)
The Ohiroma, or Grand Hall, is the main section of the Palace, and contains the official audience rooms where the Shogun met with feudal lords and the Imperial court nobility. The two main rooms are the first room, which is the upper level room, and the second room, on the lower level. During audiences, the Shogun is believed to have sat in the first Room, facing south, as rulers in Japan traditionally did. The first room is fitted with an alcove (toko-no-ma), where triptych of hanging scrolls would have hung, and staggered shelves (chigaidana, to the right of the toko-no-ma), where works of art would have been displayed. There is an ornamental doorway, called a chodai-gamae, on the right side of the room (with the red tassels), and a writing desk alcove on the left side. These are characteristic components of the shoin-zukuri style. Wall paintings are by Kano Tan’yu.

Kuro-Shoin

This room was also known as the Kohiroma, or smaller grand hall, during the Edo period, since it was used for official functions and was second only in importance to the Ohiroma. The Shogun met with high-ranking court nobles and with feudal lords with close ties to the Tokugawa family here, hence the more intimate nature of the architecture. The first and second rooms of the Kuro-shoin were also known as the Sakura-no-ma, or cherry blossom roofs, after the beautiful murals of cherry trees in full bloom. The changing of the seasons is incorporated into the paintings of this room. There is a light sprinkling of snow on the pine trees depicted behind the Shogun’s seat, and the other paintings include plus and cherry blossoms. Plums flower in late winter, before the cherry blossoms in the early spring. The paintings are by Kano Tan’yu’s brother Naonobu.

Shiro-Shoin

These rooms in the Shiro-Shoin were also known as the Goza-no-ma (literally sitting room) in the Edo period and it is believed that these three rooms were the Shogun’s private quarters. Surrounded by ink wash paintings, the decorative scheme is very different from the other parts of the Palace, creating an atmosphere of quiet calm. Themes of Chinese origin have been depicted, with a panoramic mural of the west lake in the first and second rooms and famous figures from Chinese history and legend in the Third room.

Ohiroma Yon-no-ma (4th Room)

It is said that weapons were displayed here when the Shogun was in residence. The Matsutaka-zu wall painting of a hawk perched on a massive pine tree is the most famous wall painting in the Palace, and incorporates features typical of the Momoyama period of the late 16th century.

Shikidai: Roju-no-ma (Senior Councilor’s room)

This room served as the waiting room for senior councilors. The paintings in the first and second rooms depict geese in the spring, summer and autumn, with egrest and willow trees in a winter scene in the third room. Unlike the other rooms in the palace, the wall section above the horizontal beams is white creating a much more understated decorative scheme.

TozamuraiL Chokushi-no-ma (Imperial Messenger’s room)

A very important room in the Palace, this was used when the Shogun met with messengers from the Imperial Court. The wall paintings here depict a refreshing early-summer scene of green maple leaves against a background of water.

Tozamurai: Yanagi-no-ma (Willow room)

Willow trees are depicted in this room, lending a sophisticated, aristocratic air to the space, which echoes the floral themes in the adjoining Chokushi-no-ma, Fuyo-no-ma (Cotton Rosemallow room) and Wakamatu-no-ma (Young Pine Room).

Imperial visit by Emperor Go-Mizuno-O

In order to further cement the position of the Tokugawa shogunate, Princess Masako, on of the daughters of the second shigun, Hidetada, became the consort of the reigning Emperor, Go-Mizuno-o, in 1620. The castle was repaired in 1619 in preparation for this event, and the Princess set off from the Nijo-jo Castle on June 18, 1620, in procession with an enormous retinue for the Imperial Palace. In September 1626, the Emperor Go-Mizuno-o made an Imperial visit to the Nijo-jo Castle, at the invitation of the retired second Shogun Hidetada and his son, the third Shogun Iemitsu, who both came to Kyoto for the five day imperial visit. For this event, the castle was repaired and expanded to its current size, starting in 1624. The keep tower, the Gyoko-goten Palace for the Emperor and the Honmaru-goten Palace were constructed for the festivities. Stunning wall paintings were created by painters of the Kano School, the official painters to the Shogunate. During the Imperial visit, there were performances of Noh theatre, waka composition gatherings, traditional music performances, horseback riding and court Kemari (ball game). After the Imperial visit, the Gyoko-goten Palace and several other buildings were dismantled. The keep tower and the Honmaru-goten Palace were later destroyed by fire. The ninomaru-goten Palace serves as an important reminder of this, the high point of the Castle’s history, 1634 was the last time that a Shogun stayed at Nijo-jo Castle until 1863 and during this period, the castle went into a long period of decline.

Emperor Taisho
The enthronement of the Meiji Emperor’s heri, the Taisho Emperor took place in 1915 in the ceremonial Hall of the Kyoto Imperial Palace, a banquet attended by Imperial officials, foreign dignataries invited to the enthronement and the Prime Minister was held at the Nijo-jo Castle, which had become an Imperial Villa after the Meiji restoration. A number of new buildings were added to the castle for the festivities, all of which were later dismantled with the exception of the Minami-mon (south gate).

Hats off to you, if you have really read them all.

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It was drizzling and raining intermittently and I self-appreciated myself for stretching yesterday with many sight-by covering many sight-seeings as it could have been tough to cover with the rain (The rain forecast worked). As we have had covered all the main attractions the city could offer (as per the plan), I had these reserved days for something light and a visit to Kyoto Handicraft centre. Somehow, we were quite tired of visiting numerous temples, we wanted to save Nara and Himeji castles for the next visit to Japan. It could have been done as these places are nearby, however, all these visits to the crowded places and the designs start to make resemblances to the other places. Also weather wasn’t the best it could have been. Though the temperature hovers around the manageable, its humid and make you tire easily.

Ginkakuji Temple (銀閣寺)

The temples sounds similar but Ginkakuji means the Silver pavilion and Kinkakuji is self explanatory – Golden one. It was indeed inspired by the Kinkakuji but lot of Gardens and walking routes are the differences to the former. Contrary to the name, the towers are not silver (I got to know only after the visit but was looking for one and convinced myself that its hidden or I didn’t see properly at that time). It derived its name not for the silver leaf coatings but for the time period it lived through. Also there is another theory that the moonlight reflected the roof that bright in the past. This temple was established in 1482 by Ashikaga Yoshimasa, the eighth Muromachi Shogunate. Yoshimasa, following Kinkakuji Temple Kitayama den build by his grandfather Ashikaga Yoshimitsu, built villa Highashiyama den to spend his retired life. Ginkakuji is the common name and formally it was called Higashiyama Jishoji, taking after Yoshimasa’s posthumous title after his death. Higashiyama den is the place where Higashiyama culture formed mainly by Yoshimasa started, and the is the start of the modern lifestyle of the Japanese. Even now, the combination of Higashiyama culture and Zen culture can be seen here.

Kannon-Den
The main tower was originally called Kannon-den, after Sharden of Rokuuonji and Ruriden of Saihouji. It is two storied – the first floor, Shinku-den is build in Shoin style, a traditional Japanese residential architecture style, and the second floor Cho-onkaku is Chinese temple style having Katoumado in the panel wall and a Chinese sliding door. The bronze Phoenix on the roof facing east constantly guards Ginkakuji dedicated to Kannonboastsu, the Goddess of Mercy.

Togu-do

The Buddhist hall owned by Yoshimasa. The oldest Shoin style building existing with one story Irimoya style and a roof thatched with Japanese cypress. The hall has a panel floored area in the south part, two Buddhist alter rooms on one side and two room in the north. The 4.5 tatami mat room in the northeast side is called Dojinsai, and was the stage originating Highashiyama culture. It is also said to be the beginning of So-an style tearoom and 4.5 tatami mat rooms.

Kyoto handicraft centre

This was my most anticipated as I had in mind to get a Samurai sword (Katana looking, not Katana). I already have Longclas (Sword of John Snow) and thought this would be a great addition that too getting it directly from Japan. This place is a must for anyone who is travelling to Kyoto. This is spread across two buildings next to each other. I spent a lavish hour and half exploring a lot. I wished I collect as much as possible but I knew only what I can carry. Still, I settled down with a Samurai sword. It was elegant, beautiful and full of details. There were lot of disclaimers in bringing but I knew I should be able to get through customs after proper licensing process in Singapore. Yes, that was done. However, during Tokyo to Singapore departure, Airlines made me to wait till the police come and verify the parcels, exactly where I thought the process would be super simple. Despite the parcel had printed stickers saying ornamental sword, I had to open it multiple times, and finally police came and quickly validated that its just ornamental by checking with magnet. Except the wait, all went smooth. And it was totally worth. The price I paid was one-third or half, so, why wouldn’t I be. On top of that, I got the sword right from the country where its famous for. It IS an experience.

That evening, out of love, we again went to shoren-in temple. It was drizzling and made the whole place super epic. We stayed there till they closed and had the place almost for us. It was beyond I could put in words. I really cant wait to see that during winter.

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Yes, still same date after doing Fushima Inari, Arashiyama and continues to Kinkakuji temple due to rain forecast for next 2 days. This is one of the most visited place in Kyoto after Kiyomizudera. This zen temple is golden shiny due to the top floors are covered in Gold. It was nearly the closing time, but we managed to get in and walked to the temple. Again some renovations were ongoing. The view from the distance itself a a striking one. A golden temple that reflects fully on the pond in front of it. Am sure this would look read gorgeous during winter. Imagine the shiny golden with white snow blanket.

After passing through the garden that offers spectacular views of the temple in multiple angles, we reached Sekkatei Teahouse not far from where we started and as it was closing time, so we started walking towards the exit. So its not much here, but the beautiful walk that gives plenty of views for us of the Zen shiny temple.

What we did after that wasn’t the best choice. Thinking the bus directly takes us to the next stop to our hotel, we boarded the bus which was crowded and it got worse. And I wasn’t sure, I paid extra money to the driver (via the ticketing machine) and he was super courteous and returned the extra through the machine itself even though it insists to pay exact and no returns. It was an experience though. Even for a backpacker, it may not suit and best to leave the bus to the locals respecting them. I was uncomfortable thinking that my stroller and bags were disturbing them. May be it could work perfectly during non-peak hours. After refreshing at the hotel, we indulged ourselves in Boulangerie bakery which was so good after such a long day with a glass of wine and some savories.

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