19 – 29 July 2027

RyūgūTen Nights to the
Dragon Palace

A voyage around Japan and Jeju aboard the Diamond Princess. Every port on this route is anchored in sea-dragon mythology — wedded rocks bound by rope, a cave lit by hand-held lanterns, a gate built to look like the palace under the waves, and a golden dragon painted across a temple ceiling in Asakusa.

Until AC5 leaves Montréal

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The shape of the voyage

Seven nights at sea, four ports, and one strait taken slowly

The route was not chosen for the beaches, although there are beaches. It was chosen because a sea dragon lives at the end of every leg of it — in a cave, on a cliff, under a bridge, over a gate, across a ceiling.

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days

19–29 July 2027

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places

shrines, caves, beaches, gates

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ports of call

plus one strait, sailed slowly

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nights aboard

balcony stateroom, port side

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countries

Japan and South Korea

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hours ahead

a whole day gained, then given back

126°E130°E134°E138°E33°N34°N35°N36°N123456
  1. 1YokohamaDays 3 & 10
  2. 2TobaDay 4
  3. 3KōchiDay 5
  4. 4Kanmon StraitsDay 6
  5. 5Seogwipo, JejuDay 7
  6. 6NagasakiDay 8
Solid gold: the outbound track. Dashed: the run home, south of Shikoku, with a full day at sea.

The ship

Diamond Princess

ダイヤモンド・プリンセス

Built in Nagasaki in 2004 — one of the very few large cruise ships made in Japan, which is why she keeps a proper cypress bath on deck.

Sails from

Yokohama Ōsanbashi Pier

横浜大さん橋

The timber-decked terminal locals call the whale's back. No railings on the roof, just a grass-and-wood field over the water.

The long way there

AC5 · Boeing 777-300ER

モントリオール ⇄ 成田

Thirteen hours and twenty minutes non-stop from Montréal, straight over the pole. You land the day after you leave.

The thread running through all of it

Ryūjin, and the palace at the bottom of the sea

Japan’s dragon is not the hoard-guarding lizard of European stories. He is Watatsumi, the sea itself — a kami who keeps two jewels that raise and lower the tide, and who lives in Ryūgū-jō, a palace of coral and crystal on the seabed where each of the four walls holds a different season and a single day can cost you a hundred years above. Almost everything you will stand in front of on this trip is, one way or another, an address for him.

01成田国際空港 第1旅客ターミナル

Narita Airport Terminal 1 & the Road South to Yokohama

Fudō Myō-ō — Narita's own deity — is classically shown with the kurikara, the sword a dragon king coils around and swallows whole. Your voyage opens under a dragon-wrapped blade.

Day 2

02ハイアット リージェンシー 横浜(山下町)

Hyatt Regency Yokohama, Yamashita-chō

From this window you can trace tomorrow's whole dragon-road: Ōsanbashi's whale-back to the north, and five minutes south the Azure Dragon gate on Chinatown's eastern edge.

Day 2

03江の島・江島神社・龍恋の鐘

Enoshima Island — the Dragon Shrine & the Bell of Dragon's Love

The whole island is the dragon's love story: raised for Benzaiten, guarded by Gozuryū, who lies petrified across the mainland hills with his head at Tatsu-no-kuchi, still facing her.

Day 3

04江の島岩屋

Enoshima Iwaya Sea Caves

On the rock directly above the First Cave stands Wadatsumi-no-miya, the sea-dragon's hall. You are inside the hill the dragon guards, walking toward the spot where Benzaiten came ashore.

Day 3

05横浜中華街・関帝廟

Yokohama Chinatown — Kanteibyō & the Fortune Hall

You enter through the Azure Dragon's gate and pray to a god whose blade was legendarily forged from a green dragon that flew over the smithy at exactly the wrong moment.

Day 3

06横浜港大さん橋国際客船ターミナル

Ōsanbashi Pier — the Whale's Back

The whale's back carries you to the water's edge, and beyond it the dragon king's country begins. Wadatsumi-no-miya at Enoshima this morning honoured the very god whose sea you now sail.

Day 3

07二見興玉神社・夫婦岩

Futami Okitama Shrine & the Wedded Rocks

The pair who made the islands also fathered the sea-kami. Their rope hangs over the water you are sailing — and the dragon's own shrine waits two minutes east along this same shore path.

Day 4

08龍宮社

Ryugusha, the Sea-Dragon Shrine

The voyage's namesake in miniature: a shrine literally called Dragon Palace, standing where the sea touches the path, for the kami whose house you will hear of again at Dan-no-ura.

Day 4

09桂浜

Katsurahama Beach

The beach is held between two dragons — Ryūzu-misaki, Dragon's Head Cape, at one end and Ryūō-misaki, Dragon King Cape, at the other, with the sea-god's shrine on the stair above.

Day 5

10海津見神社(桂浜龍王宮)

Watatsumi Shrine — Katsurahama's Dragon King Palace

Cape, shrine and kami are all dragon: Ryūō-misaki, Ryūō-gū, and Ōwatatsumi, whom Japan reads as Ryūjin. The same sea-god you saluted at Futami the day before.

Day 5

11関門海峡

The Kanmon Straits

The voyage's keystone. Antoku vanishes into Ryūgū-jō, and medieval texts claim he was the Dragon King's daughter reborn — or the serpent Orochi — come to take back the sword Kusanagi.

Day 6

12중문색달해수욕장

Jungmun Saekdal Beach

Jeju's sea belongs to Yongwang, the Dragon King; divers petition him before the season. On the north coast his fallen messenger is still visible — Yongduam, a dragon's head turned to stone.

Day 7

13천제연폭포 (天帝淵瀑布)

Cheonjeyeon Waterfall

In Korean folk cosmology the Emperor of Heaven commands the dragon kings of the four seas, who carry the rain. This pond bears his name — and its water falls three times down to the Dragon King's door.

Day 7

14崇福寺・龍宮門

Sofuku-ji and the Dragon Palace Gate

The whole temple is entered through the Dragon King's front door. And Nagasaki still dances its Chinese dragon — the ja-odori, chasing a jewel through the streets each October at Kunchi.

Day 8

15グラバー園・出島

Glover Garden & Dejima

Nagasaki's dragon came ashore off Chinese ships into this harbour. Every October the ja-odori dragons chase their jewel through the streets below this hill, and the Dragon Palace Gate is a tram ride away.

Day 8

16

The Izumi Japanese Bath

You are soaking in hot water directly above the Dragon King's roof. Ryujin's palace is the seabed, and the Pacific outside the cypress tub runs four kilometres deep in places.

Day 9

17変身写真スタジオ cocomo 浅草

Geisha & Samurai: Studio cocomo

Dragons ride on both costumes: coiled through the gold brocade of an obi, and reared up as a maedate crest on the helmet — a warrior claiming the beast that commands water and storm.

Day 10

18浅草ビューホテル

Asakusa View Hotel

You are looking straight down onto Kinryu-zan, Golden Dragon Mountain. From this height you can trace the entire route the golden dragon dances on its two days of the year.

Day 10

19雷門(風雷神門)

Kaminarimon, the Thunder Gate

A dragon is carved into the underside of the great lantern, carried over from the lantern before it. And the plaque above reads Kinryu-zan: you are entering Golden Dragon Mountain.

Day 11

20浅草寺・お水舎

Senso-ji's Dragon Fountain

Two dragons at once: Sakara Ryuo in bronze on the basin, an ink dragon painted on the ceiling above him. Here the temple's water is guarded by the beings who own all water.

Day 11

21浅草寺・観音堂

Senso-ji Main Hall & the Golden Dragon

This is the dragon's own hall: a golden dragon named the mountain in 628, Kawabata Ryushi painted one across the 1958 ceiling, and eight dancers still bring an 18-metre one down the approach.

Day 11

Eleven days, twenty-one places

The whole journey, in order

Each day below is a chapter: where the ship is, what you go and see, and the story that makes it worth going to see. Read it straight through and the dragon shows up again and again — which is the point.

01

Day

出発

Monday, 19 July 2027In transit

Montréal → the Pacific

You lose a day on purpose

AC5 lifts off at 13:05 and flies thirteen hours and twenty minutes into tomorrow. Somewhere over the Bering Sea the date line takes the rest of Monday from you and sets you down on Tuesday afternoon. You get it back on the way home.

02

Day

成田・横浜

Tuesday, 20 July 2027Landfall

Narita & Yokohama

Landfall, and the smell of salt

Down through the cloud onto Chiba, out through Terminal 1, and onto an orange coach that runs the long way around Tokyo Bay to a harbour room in Yokohama.

An orange Airport Limousine coach waiting at the kerb of Narita Terminal 1.

Day 2 · Tuesday, 20 July 2027

Narita Airport Terminal 1 & the Road South to Yokohama

成田国際空港 第1旅客ターミナルNarita Kokusai Kūkō Dai-ichi Ryokaku Tāminaru

The doors sigh open, someone bows, and Japan begins in traffic-cone orange.

The cabin doors sigh open and Terminal 1 takes you in — a long ribbon of glass and steel that has been receiving the world since 1978. You clear immigration beneath signage in four scripts, and the first thing that happens is not a stamp but a bow: the officer, the baggage attendant, the woman at the kiosk. Outside, Japan announces itself as heat, wet and cicada-loud. Then you find the curb, and there it is, unmistakable in traffic-cone orange — the Airport Limousine. A white-gloved loader weighs your case, tags it, hands you the stub, and bows to the departing bus. For the next ninety minutes you sleep and wake against the glass while Chiba dissolves into Tokyo Bay: container cranes standing like grazing herons, the long silver reach of the bridges. Then the doors open in Yokohama, and the air tastes of salt.

The story behind it

The Immovable Fire King of Narita

Twenty minutes from your gate stands Narita-san Shinshō-ji, and the airport owes the town its name. In 940 the warlord Taira no Masakado declared himself a new emperor and the Kantō plain caught fire. The court sent the monk Kanchō east carrying an image of Fudō Myō-ō — the Immovable Wisdom King, wreathed in flame, said to have been carved by Kūkai himself. Kanchō set the statue down on the Shimōsa plain and prayed. The rebellion collapsed. When the monks tried to carry Fudō home, the statue would not lift; it had become immovable in fact as well as in name. They built the temple where it stood and called it Shinshō-ji, "New Victory".

Fudō Myō-ō — Narita's own deity — is classically shown with the kurikara, the sword a dragon king coils around and swallows whole. Your voyage opens under a dragon-wrapped blade.

What people actually do here

No one will take a tip; offering one causes gentle distress. Money is not passed hand to hand but laid in a small tray on the counter, and returned the same way, often with both hands. Queues form on painted footprints without anyone being asked. And the bow you receive is not performance — return it, shallow and unhurried, and you have already said thank you correctly.

Terminal 1 has five satellite concourses — two of them perfect circles, a 1978 idea for parking jumbo jets nose-in around the rim.

Words you will see here

リムジンバスRimujin basu
"Limousine bus" — the orange airport coach, famous more for legroom than luxury
いらっしゃいませIrasshaimase
"Welcome, come in" — called out to every customer crossing a shop threshold
お疲れさまですOtsukaresama desu
"You must be tired" — the all-purpose acknowledgement of someone's effort
不動明王Fudō Myō-ō
The Immovable Wisdom King, flame-wreathed; the deity of nearby Narita-san
The Hyatt Regency Yokohama rising above the Minato Mirai waterfront.

Day 2 · Tuesday, 20 July 2027

Hyatt Regency Yokohama, Yamashita-chō

ハイアット リージェンシー 横浜(山下町)Haiatto Rījenshī Yokohama

A window on the harbour, Chinatown five minutes south, your ship already waiting.

Your room sits somewhere between the third floor and the nineteenth, and what it gives you is water. Beyond the plane trees of Yamashita Park the bay opens out: the Hikawa Maru riding at her permanent mooring, the Bay Bridge drawn in white cable across the horizon, and — just there, to the left — the low pale spine of Ōsanbashi, where your ship will be. Come nightfall, Minato Mirai lights up across the harbour and the great Ferris wheel counts the minutes in neon. The hotel is new here, opened in May 2020, standing on a street that was foreign concession ground when Yokohama was Japan's one open door to the world. Step out and turn right for the sea wall. Turn left and in five minutes you are under a gate the colour of a dragon's back, and everything smells of star anise.

The story behind it

Akai Kutsu — The Girl in the Red Shoes

On the sea wall in Yamashita Park sits a small bronze girl in red shoes, looking out at the water. She comes from a 1922 children's poem by Noguchi Ujō about a girl carried away overseas by a foreigner. Since a long investigation in the 1970s she has been identified with Iwasaki Kimi (1902–1911), given by her mother to American missionaries named Hewitt. When Kimi fell ill with tuberculosis the Hewitts sailed without her, and she died at nine in an orphanage in Azabu. Her mother went to her own grave believing her daughter had crossed this ocean. Some writers dispute the identification entirely — but the statue keeps watching the sea.

From this window you can trace tomorrow's whole dragon-road: Ōsanbashi's whale-back to the north, and five minutes south the Azure Dragon gate on Chinatown's eastern edge.

What people actually do here

Evening in Yamashita Park has its own quiet choreography: couples walk the sea wall from the Red Shoes girl to the Hikawa Maru and back, buskers set up under the plane trees, and almost nobody eats while walking — food is finished standing beside the stall that sold it. Public bins are scarce, so people simply carry their rubbish home.

Yamashita Park is built on rubble from the 1923 Great Kantō Earthquake — the city swept its own ruins into the sea and planted a promenade on top.

Words you will see here

みなとみらいMinato Mirai
"Harbour of the future" — the glass skyline across the water from your window
山下公園Yamashita-kōen
The seafront park below the hotel, opened in 1930 on earthquake rubble
氷川丸Hikawa Maru
1930 NYK liner moored permanently at the park, now a museum ship
関内Kannai
"Inside the barrier" — old name for Yokohama's foreign settlement quarter

03

Day

江の島・乗船

Wednesday, 21 July 2027Ashore

Enoshima & Embarkation

A dragon, a cave, a fortune, a ship

The busiest and best day on land: a five-headed dragon before breakfast, a lantern-lit sea cave, a tarot reading in Chinatown, and the gangway at noon. Lines go at 15:00.

The Enoshima dragon shrine looking out over the Sagami Bay coastline.

Day 3 · Wednesday, 21 July 2027

Enoshima Island — the Dragon Shrine & the Bell of Dragon's Love

江の島・江島神社・龍恋の鐘Enoshima · Enoshima-jinja · Ryūren no Kane

An island a goddess raised from the seabed, and a bell two lovers ring together.

You cross the long bridge from Katase with the sea on both sides and Enoshima rising ahead, green and steep. Through the bronze torii — cast in 1821 — the lane narrows into souvenir stalls and grilled-squid smoke, and then Zuishinmon stands over you in vermilion and gold, built deliberately in the shape of Ryūgū-jō, the dragon's palace under the sea. Above it the island unfolds shrine by shrine: a long stone climb, or the Escar, Japan's first outdoor escalator, four minutes against twenty. In the octagonal Hōan-den, behind glass in dim light, sit two Benzaiten — one eight-armed and bristling with weapons, one naked, serene and startlingly human. Higher still, past cedars loud with cicadas, the dragon hall crouches over the sea. Then the path drops to Lovers' Hill, where a small bronze bell hangs above Sagami Bay and every inch of fence is furred with padlocks.

The story behind it

Benzaiten and the Five-Headed Dragon

The Enoshima Engi, written in 1047 by the monk Kōkei, says that for a thousand years a five-headed dragon, Gozuryū, lived in a lake inland and terrorised the village of Koshigoe with floods, fire, and children taken. Then in 552 the sea boiled, the sky darkened, and an island rose out of the bay: Enoshima, made as a seat for the goddess Benzaiten, who descended onto it. The dragon saw her and asked her to marry him. She refused, and told him plainly what he was. Shamed by her eloquence, he swore to protect the people instead, turned to face her island and became a hill — Tatsu-no-kuchi, Dragon's Mouth. Popular retellings soften it: she accepts him once he has reformed.

The whole island is the dragon's love story: raised for Benzaiten, guarded by Gozuryū, who lies petrified across the mainland hills with his head at Tatsu-no-kuchi, still facing her.

What people actually do here

At Ryūren no Kane you ring the bell together — both of you with a hand on the rope, one stroke is enough. Then you write your two names on a padlock bought from the shops below and snap it shut on the wire fence among thousands of others. Couples who ring it together, the island promises, are never parted.

The eight-armed Benzaiten in the Hōan-den was given by Minamoto no Yoritomo in 1182, the year he prayed on this island for victory in the north.

Words you will see here

江島神社Enoshima-jinja
One shrine in three halls: Hetsunomiya, Nakatsunomiya and Okutsunomiya
龍恋の鐘Ryūren no Kane
"Bell of the dragon's love", hung on Lovers' Hill in 1996
弁財天Benzaiten
Goddess of water, music, eloquence and wealth; Enoshima is her island
龍宮Wadatsumi-no-miya
"Dragon palace" — the sea-dragon hall raised above the caves in 1993
Visitors carrying candle lanterns through the Iwaya sea caves.

Day 3 · Wednesday, 21 July 2027

Enoshima Iwaya Sea Caves

江の島岩屋Enoshima Iwaya

They hand you a candle at the cave mouth, and after that the light is yours.

The path down the island's far side turns raw: black rock, a boardwalk pinned to the cliff, waves working underneath. At the entrance someone hands you a candle in a small holder, and you carry your own light into the First Cave — 152 metres of dripping stone that the sea cut and the earthquakes lifted clear of the water. The air goes cool and mineral. Rows of weathered stone figures watch from the walls, left by pilgrims across centuries. The passage forks: right, to a cramped inner sanctum said to be where Benzaiten first appeared and Enoshima Shrine began; left, into a tunnel local lore insists runs a hundred kilometres to an ice cave at the foot of Mount Fuji. The Second Cave is shorter and stranger. At the end of it a dragon waits in the dark. Clap, and it answers.

The story behind it

The Grotto Where the Island Began

Tradition holds that in 552, in the reign of Emperor Kinmei, an oracle directed that a shrine be raised in this grotto — the origin of Enoshima Shrine, and the place where Benzaiten took up residence. The caves became a site of severe practice. En no Gyōja, the mountain ascetic counted as the founder of Shugendō, is said to have trained here; so, later, are Kūkai, Ennin and Nichiren. In 1182 Minamoto no Yoritomo prayed in the cave before moving against Fujiwara no Hidehira in the north. By the Edo period this was mass pilgrimage: thousands came in by candlelight, exactly as you are about to.

On the rock directly above the First Cave stands Wadatsumi-no-miya, the sea-dragon's hall. You are inside the hill the dragon guards, walking toward the spot where Benzaiten came ashore.

What people actually do here

The candle is the whole ritual. You hold it low and steady, cup a hand around it at the draughty corners, and let your eyes go slack until the walls come forward and the carved faces surface out of the dark. Don't touch the stone — centuries of hands have already polished it. At the end you hand the light back; the flame stays in the cave.

Local lore says the left branch of the First Cave runs all the way to Narusawa Ice Cave at the foot of Mount Fuji, roughly 100 km away.

Words you will see here

岩屋Iwaya
Rock grotto; a sea cave used as a place of worship
役行者En no Gyōja
"The ascetic En" — 7th-century mountain mystic, founder of Shugendō
弘法大師Kōbō Daishi
Posthumous name of Kūkai, founder of Shingon Buddhism
龍神Ryūjin
The dragon god of the sea, master of the tides
The ornate painted gate and dragon roof carvings of Kanteibyo Temple.

Day 3 · Wednesday, 21 July 2027

Yokohama Chinatown — Kanteibyō & the Fortune Hall

横浜中華街・関帝廟Yokohama Chūkagai · Kanteibyō

Five sticks of incense for a war god, then a stranger reads your face.

You come in under Chōyōmon, the eastern gate, painted the blue-green of an azure dragon, and the temperature of the day changes. Five hundred-odd kitchens are working at once: pork buns steaming in towers, roast duck lacquered in the windows, sugar and sesame and hot oil. Then, up a side street, gold explodes. Kanteibyō is all carved dragons and glazed tile, unapologetically loud after the cedar hush of Enoshima. You buy five sticks of incense, light them at the great censer, fan the flame out rather than blow it, and walk the burners in order. Afterwards you duck into a fortune hall — a curtained booth, a small table, a woman who studies your face carefully before she touches the cards. She reads the bones under your skin first, then the tarot. You will argue about it the whole way to the ship.

The story behind it

Guan Yu, the God Merchants Trust

Kanteibyō enshrines Guan Yu, a general of the collapsing Han dynasty who died in 220 and has been climbing the ranks of heaven ever since — sworn brother, sworn defender, eventually a god. The novel Romance of the Three Kingdoms gave him a red face, a long beard and the Green Dragon Crescent Blade, forged, the story says, when a green dragon flew over the smithy and was cut apart into the steel. Historians doubt the weapon ever existed; that style of polearm postdates him by centuries. It hardly matters. Merchants adopted him not for war but for his absolute reliability with a promise and a ledger, and pray to him now for prosperity, honest dealing and safe returns.

You enter through the Azure Dragon's gate and pray to a god whose blade was legendarily forged from a green dragon that flew over the smithy at exactly the wrong moment.

What people actually do here

Buy a set of five incense sticks at the reception desk. Light them at the great censer in the forecourt, and put the flame out by fanning, never by blowing. Then place one stick in each of the five burners, in order: the Jade Emperor, then Guan Yu, then Di Mu Niang Niang, then Guan Yin, then Fu De Zheng Shen. Bow, and say what you came to say.

The hall you enter is the fourth Kanteibyō. Fire destroyed the third on New Year's Day 1986 — but the three deity statues survived it, and are still here.

Words you will see here

関帝廟Kanteibyō
"Temple of Emperor Guan" — Chinatown's central place of worship
朝陽門Chōyōmon
The blue east gate, guarded by Seiryū, the Azure Dragon of spring
人相Ninsō
Face-reading; divination from the features and the bone beneath
占いUranai
Fortune-telling; an uranai-kan 占い館 is a fortune-telling hall
The Diamond Princess berthed along the timber deck of Osanbashi Pier.

Day 3 · Wednesday, 21 July 2027

Ōsanbashi Pier — the Whale's Back

横浜港大さん橋国際客船ターミナルYokohama-kō Ōsanbashi Kokusai Kyakusen Tāminaru

A wooden deck with no pillars and no straight lines, and a white wall of ship.

Ōsanbashi does not look like a terminal. It looks like something surfacing. You walk up a ramp and out onto a rooftop of Brazilian ipe, warm underfoot, folded and rippling like a dune — no columns anywhere, no steps, no right angles, grass growing in the hollows. Yokohama named it kujira no senaka, the whale's back, and once you are standing on it you cannot unsee the animal. To one side Minato Mirai stacks itself into the sky; to the other, the Bay Bridge. And filling the whole northern edge, close enough to read her rivets, Diamond Princess — 115,875 tons of her, built in Nagasaki, the first Princess ship ever launched from a Japanese yard. At 15:00 the horn goes, a note you feel in your sternum, and it is the wooden deck that slides away from you, and Japan begins to move.

The story behind it

Ryūgū-jō, the Palace Under the Sea

Everything from here is the sea-dragon's country. The Kojiki tells how Hoori, searching for a lost fishhook, went down to Ryūgū-jō, the dragon palace of Watatsumi, god of the sea, and stayed three years that felt like days. He married Watatsumi's daughter Toyotama-hime and was sent home with the tide jewels — one to raise the water, one to lower it. When Toyotama-hime came ashore to give birth she begged him not to look. He looked, and saw a wani, a great sea-serpent, and she fled back into the water for ever. Their grandson, the chronicles say, became Japan's first emperor.

The whale's back carries you to the water's edge, and beyond it the dragon king's country begins. Wadatsumi-no-miya at Enoshima this morning honoured the very god whose sea you now sail.

What people actually do here

Japanese sailings keep the old rituals where they can. Coloured paper streamers are thrown from the rails so that ship and shore are stitched together — and are meant to break, which is the point. As the lines come off, the port plays Hotaru no Hikari, Japan's farewell tune and the same melody as Auld Lang Syne. Nobody stops waving until faces are gone.

The rooftop got its nickname kujira no senaka, "whale's back", by public vote on 4 December 2006, chosen from 3,995 suggestions.

Words you will see here

大さん橋Ōsanbashi
"The great pier" — Yokohama's international passenger terminal, rebuilt 2002
くじらのせなかKujira no senaka
"The whale's back" — the rooftop deck, open to anyone, 24 hours a day
綿津見Watatsumi
The sea-dragon god whose palace lies beneath the water you are sailing over
蛍の光Hotaru no hikari
"Light of the fireflies" — the Japanese farewell song, played at castoff

04

Day

鳥羽

Thursday, 22 July 2027Port of call

Toba

Married rocks and the dragon's address

Anchored in Toba Bay, ashore by tender. Two rocks roped together since the making of the world — and, two minutes along the same path, a shrine named for the palace on the seabed.

The Wedded Rocks at Futami, joined above the water by a heavy straw shimenawa rope.

Day 4 · Thursday, 22 July 2027

Futami Okitama Shrine & the Wedded Rocks

二見興玉神社・夫婦岩Futami Okitama-jinja / Meoto Iwa

Two rocks bound by a rice-straw rope, married since the making of the world.

The tender noses into Toba and the bay opens flat and silver. A short ride west, the pines of Futamiura part, and there they are: the husband rock shouldering nine metres out of the shallows with a small torii on its crown, the wife rock low beside him, and slung between them the shimenawa — thirty-five metres of braided rice straw in five great strands, sagging, lifting, dripping over open water. You walk the shore path past frog after frog after frog. At the purification basin, water pours over a frog's back for wishes granted; at the shrine office you draw a kaeru-mikuji, tugging your fortune out of a frog's mouth. Unfold it. And somewhere out there, roughly seven hundred metres offshore and usually drowned, lies the rock this whole shrine is actually facing.

The story behind it

The Rope, the Pair, and the Rock You Cannot See

Japan's first story begins on the floating bridge of heaven. Izanagi and Izanami stir the brine with a jewelled spear; the drops that fall from its tip harden into the first island. There they marry, and go on to bear the islands of Japan and a host of kami — the mountains, the winds, the sea. The Wedded Rocks are read as that pair made stone: the tall husband, the smaller wife, joined by a rope no tide unties. But the rocks are not the object of worship. They stand as a torii, a frame — the true sacred body is Okitama Shingan, a submerged stone offshore where Sarutahiko Ōkami, the towering crossroads-kami who guided the heavenly grandchild down to earth, is said to have come ashore.

The pair who made the islands also fathered the sea-kami. Their rope hangs over the water you are sailing — and the dragon's own shrine waits two minutes east along this same shore path.

What people actually do here

Futami is where pilgrims cleanse before going on to Ise. That is hamasangu: once you waded into this bay; today the priests purify you at the shrine office with mukushiogusa, "unblemished salt grass" gathered from the sacred rock. You take a sprig home as a talisman or steep it in your bath. And walk through the torii at its side — the centre is the kami's own path.

Frogs here are Sarutahiko's messengers and a pun: kaeru means both "frog" and "to return" — hence charms for safe returns and money coming back.

Words you will see here

夫婦岩Meoto Iwa
"Wedded Rocks" — literally the husband-and-wife rocks
注連縄shimenawa
Sacred rice-straw rope marking the boundary of holy ground
かえるみくじkaeru-mikuji
Fortune slip drawn from a frog's mouth, unique to this shrine
浜参宮hamasangu
Seaside purification undertaken before visiting the Ise Grand Shrine
Ryugusha, the small vermillion sea-dragon shrine standing at the tideline.

Day 4 · Thursday, 22 July 2027

Ryugusha, the Sea-Dragon Shrine

龍宮社Ryūgūsha

A red-and-green shrine at the tideline, named for the dragon king's palace itself.

Follow the path east from the Wedded Rocks, past the last of the frogs, until the walkway simply runs out at the water's edge. Here is Ryugusha: a small hall in vermillion with a green roof, standing so close to the sea that spray reaches it in a blow. There is no gap at all between shrine and ocean. You bow twice, clap twice, bow once, and the sound of your hands goes straight out over the bay. Inside is Watatsumi Ōkami, great kami of the sea, whom Japan has long read as Ryūjin the dragon. Then walk back up the approach, where the mochi shops are steaming. Futami's own is ofuku-mochi, wave-shaped and filled with bean paste — skewered gohei-mochi turns up at stalls hereabouts too, though it belongs to inland Chūbu rather than to this shrine's rites.

The story behind it

Ryugu-jo, the Palace at the Bottom of the Sea

Ryūgū-jō, the dragon palace, stands on the seabed, built of coral and crystal, each of its four sides holding a different season, where a day can equal a hundred years above. It is the house of Watatsumi, kami of the sea, whose other name is Ryūjin, the dragon. To this palace the fisherman Urashima Tarō is carried on a turtle's back. From it Hoori — grandfather of Japan's first emperor — brings home the sea-god's daughter and the two jewels that command the tides. This little hall at the waterline is named for that palace: it calls the dragon's own address down onto a shore where the sea is close enough to touch.

The voyage's namesake in miniature: a shrine literally called Dragon Palace, standing where the sea touches the path, for the kami whose house you will hear of again at Dan-no-ura.

What people actually do here

On the fifteenth day of the fifth lunar month the priests hold Gochūse, Ryugusha's annual rite. Sea vegetables and produce are laid on a small wooden boat and set adrift, and the village remembers a tsunami of 1792 that swept away most of a neighbourhood — and remembers, too, that the survivors fed and sheltered one another. The lesson itself is the offering.

The offerings are coded warnings: miru seaweed and matsuna greens pun on "don't look, don't wait" — when the sea draws back, run, don't watch.

Words you will see here

龍宮城Ryūgū-jō
The dragon king's palace beneath the sea
綿津見大神Watatsumi Ōkami
Great kami of the sea, guardian of everyone who sails
龍神Ryūjin
The dragon god of the sea, master of the tides
郷中施Gochūse
"Aid within the village" — the shrine's tsunami memorial rite

05

Day

高知

Friday, 23 July 2027Port of call

Kōchi

Pines, Pacific surf, a dragon on the cliff

A crescent of sand and gravel that Japan reserves for looking at the moon, and a small shrine on the rock above it belonging to the king of the sea.

The pine-framed crescent of Katsurahama beach on the Pacific coast of Kochi.

Day 5 · Friday, 23 July 2027

Katsurahama Beach

桂浜Katsurahama

A moon-famous crescent of five-coloured pebbles, with Ryoma staring down the Pacific.

You hear it before you see it: the Pacific arriving all at once, no reef, no shelter, straight off the open ocean. Then the pines break and the crescent appears — five hundred metres of sand and stone strung between two headlands, Ryūzu at one end, Ryūō at the other. Dragon's head; dragon king. Crouch and the shingle is not grey but green, red, white, black and grey, rounded by rivers off Mount Ishizuchi and sorted by the surf. Above you Sakamoto Ryōma stands in bronze, 5.3 metres of him on a plinth that lifts him to thirteen and a half, kimono and Western boots, hands folded into his sleeves, facing the ocean he wanted Japan to cross. Do not swim; the undertow here kills people. Come back at dusk instead. This is the moon's beach.

The story behind it

The Tree That Grows on the Moon

The beach was written many ways in old records — Katsuura-hama and others — before the characters settled on 桂, katsura, the tree that East Asian legend says grows on the moon. In the story a man named Wu Gang is sentenced to fell it; every cut he makes heals over instantly, so he chops forever, and the shadow on the moon's face is his tree. Tosa's people took that name for their beach because the moon rising straight out of the Pacific here was reckoned the finest in the province. Kōchi's own folk song still says so: tsuki no meisho wa Katsurahama — "for the moon, the famous place is Katsurahama."

The beach is held between two dragons — Ryūzu-misaki, Dragon's Head Cape, at one end and Ryūō-misaki, Dragon King Cape, at the other, with the sea-god's shrine on the stair above.

What people actually do here

Tsukimi, moon-viewing, is a real observance still. For the autumn harvest moon people gather with dango dumplings stacked in a pyramid and susuki pampas grass set where the light can reach it — an offering of what the season gave. In July you get the summer moon instead, lifting clear of the Pacific. The etiquette is nothing: bring little, say less, watch.

Katsurahama's pebbles come in exactly five colours from five different rocks — green tuff, red basalt, white quartz, black shale, grey sandstone.

Words you will see here

桂浜Katsurahama
"Katsura-tree beach" — for the tree said to grow on the moon
月見tsukimi
Moon-viewing; a seasonal ritual of watching the moon rise
五色の小石goshiki no koishi
The beach's celebrated five-coloured pebbles
龍王岬Ryūō-misaki
Dragon King Cape, the headland closing the beach's far end
A small red shrine perched on the cliff above Katsurahama.

Day 5 · Friday, 23 July 2027

Watatsumi Shrine — Katsurahama's Dragon King Palace

海津見神社(桂浜龍王宮)Watatsumi-jinja / Katsurahama Ryūō-gū

Climb the cliff stair to a red torii and a dragon king who rules the tides.

At the far end of the beach a small bridge crosses to Ryūō-misaki, and then the stone steps begin. They are steep, salt-worn, walled in by wind-cut green, and they climb the rock in short flights until the vermillion torii opens onto nothing but sky and water. The hall is tiny. The view is enormous — the whole crescent behind you, the Pacific in front, the surf working the cliff directly beneath your feet. Ōwatatsumi-no-kami is enshrined here: safety at sea, full nets, rain when the fields want it, and, they add, good marriages. Fishermen out of Urado have asked here for centuries; tradition credits the Chōsokabe lords with founding it. There is usually no priest. You drop coins in the box, bow into the wind, and the sea answers by hitting the rocks.

The story behind it

The Dragon Who Keeps the Tides

Ōwatatsumi is the sea given a will — born, the Kojiki says, of Izanagi and Izanami, master of every current and every creature in it. Japan long ago folded him together with Ryūjin the dragon, who keeps in his palace the kanju and manju, the tide-ebbing and tide-flowing jewels. The story that matters on this cape is Hoori's: having lost his brother's fishhook, he goes down to the dragon's palace, marries the sea-god's daughter Toyotama-hime, and comes home with both jewels — raising the tide against his brother, then letting it fall. To ask a dragon for the sea's mercy is to ask the one who decides when the water comes.

Cape, shrine and kami are all dragon: Ryūō-misaki, Ryūō-gū, and Ōwatatsumi, whom Japan reads as Ryūjin. The same sea-god you saluted at Futami the day before.

What people actually do here

Drawing an omikuji: rattle the hexagonal box until one numbered stick slides out, hand over the number, take your slip and read it — daikichi, great blessing, down through kyō, curse. Good fortune goes home in your wallet. Bad fortune is folded and tied to the rack or a pine branch, traditionally one-handed, so the luck stays at the shrine and not with you.

Its formal name is Watatsumi Shrine; everyone calls it Ryūō-gū, the Dragon Palace. English spellings vary wildly — the cape itself is Ryūō-misaki.

Words you will see here

大綿津見神Ōwatatsumi-no-kami
The great kami of the sea, ruler of all its creatures
龍王宮Ryūō-gū
"Dragon King Palace" — the shrine's popular name
おみくじomikuji
Fortune drawn by lot; bad ones are tied off and left behind
満珠manju
The tide-flowing jewel kept in the dragon's palace

06

Day

関門海峡

Saturday, 24 July 2027Scenic cruising

Kanmon Straits

The narrowest water in Japan, taken slowly

No shore excursion. Just the balcony, a bridge passing overhead, and the stretch of water where a six-year-old emperor was carried down to a capital beneath the waves.

The Kanmon Bridge seen from the water, spanning the strait between Honshu and Kyushu.

Day 6 · Saturday, 24 July 2027

The Kanmon Straits

関門海峡Kanmon Kaikyō

The narrowest gap in Japan's history, where a child emperor sank to the dragon king.

You never have to leave the balcony. Coffee, a chair, and Honshū closing on one side while Kyūshū closes on the other until the gap is barely six hundred and fifty metres and the ship is threading it. The water is not flat: it seams and boils and drags in ropes of current that can run past ten knots and reverse four times a day. Shimonoseki slides by — watch the shore for a red-and-white gate, Akama Jingū, built deliberately in the shape of the dragon palace. Then the Kanmon Bridge fills the sky, sixty-one metres of clearance, and for a few seconds the entire span passes overhead. Off to one side, low and green, Ganryūjima, where Musashi killed Kojirō with a carved oar in 1612. And below you, somewhere: 1185.

The story behind it

A Capital Beneath the Waves

Here on 25 April 1185 the Genpei War ended. Minamoto no Yoshitsune's archers shot the Taira helmsmen and rowers; the tide, by the traditional account, turned against the Taira through the afternoon. With defeat certain, Taira no Tokiko — Nii-no-Ama, the Nun of the Second Rank — gathered her grandson, the six-year-old Emperor Antoku, with the sacred sword at her waist and the sacred jewel under her arm. She turned him east to bid farewell to Ise, then west toward the Pure Land, and told him: nami no shita ni mo miyako no sōrō zo — beneath the waves, too, there is a capital. Then she carried him in. The mirror and jewel were recovered. The sword was not.

The voyage's keystone. Antoku vanishes into Ryūgū-jō, and medieval texts claim he was the Dragon King's daughter reborn — or the serpent Orochi — come to take back the sword Kusanagi.

What people actually do here

On the Kyūshū shore stands Mekari Jinja, whose priests still perform Mekari Shinji. In the small hours of the lunar New Year, by torchlight, three of them wade into the freezing strait and cut wakame seaweed stalk by stalk to lay on the altar — the sea's first harvest of the year, offered straight back to the sea. Fukuoka lists it as intangible folk culture.

Heikegani crabs wear a scowling samurai face on their shells — the drowned Heike, locals say. Sagan blamed fishermen's selection; the crabs are too small to eat.

Words you will see here

龍宮城Ryūgū-jō
The dragon king's palace beneath the sea, where Antoku is said to have gone
平家蟹heikegani
"Heike crab" — its shell ridges read as a drowned samurai's face
壇ノ浦Dan-no-ura
The strait's eastern shore; site of the 1185 sea battle
関門海峡Kanmon Kaikyō
Strait named from Shimonoseki (kan) and Moji (mon)

07

Day

서귀포 · 제주

Sunday, 25 July 2027Port of call

Seogwipo, Jeju

Black sand, and a pool the sky comes down to

Korea for a day. Volcanic sand in four colours under basalt cliffs, then a three-tiered waterfall where seven heavenly women are said to come down at night to bathe.

The volcanic multi-coloured sand and basalt cliffs of Jungmun Saekdal beach.

Day 7 · Sunday, 25 July 2027

Jungmun Saekdal Beach

중문색달해수욕장Jungmun Saekdal Haesuyokjang

Four colours of volcanic sand and grandmothers who surface whistling from the deep.

You come down through the pines and the sand stops being one colour. Black, grey, red, white — jinmosal, Jeju calls it, ground out of the island's own lava and sorted into ribbons by the surf. Behind you a basalt headland rises in rusted columns; to the right the cliff opens into a sea cave fifteen metres tall, and inside it the rock folds like a lacquered screen. The water here is loud. Surfers wait beyond the break for the swell that makes Jungmun famous. Then you notice orange floats offshore, bobbing where no swimmer should be, and a sound carries across the water — a thin, ascending whistle. That is sumbisori, a haenyeo emptying her lungs after a minute under. She is seventy. She dives again. You stand in four colours of ash and understand you are on a volcano that never fully cooled.

The story behind it

The Dragon Who Stole the Jade of Hallasan

On Jeju's north shore, ten metres of black lava stands out of the surf with its head thrown back and its mouth open at the sky: Yongduam, Dragon Head Rock. The stories disagree, which is how you know they are old. In one, a dragon serving the Dragon King climbed Hallasan to fetch the elixir of eternal life and was shot down by the mountain's guardian spirit. In another it stole the guardian's sacred jade and the arrow found it anyway. Its body sank into the sea; its head froze mid-roar, still straining upward, and there it remains. A third telling makes it a white horse that dreamed of becoming a dragon and was caught in the act of ascending.

Jeju's sea belongs to Yongwang, the Dragon King; divers petition him before the season. On the north coast his fallen messenger is still visible — Yongduam, a dragon's head turned to stone.

What people actually do here

Haenyeo still work in cooperatives, ranked hagun, junggun and sanggun by skill, with the sanggun setting the day's boundaries and calling everyone back in. They dive on breath alone, no tank, resting between descents on a tewak float. Before the season they hold shamanic rites asking Yongwang, the Dragon King, and the wind grandmother Yeongdeung for calm water and a full net.

UNESCO inscribed the culture of the Jeju haenyeo in 2016. Some are in their eighties, working up to seven hours a day, one held breath at a time.

Words you will see here

해녀 (海女)haenyeo
"sea women" — Jeju's breath-hold divers, many of them grandmothers
숨비소리sumbisori
the whistling exhalation a diver makes the instant she surfaces
진모살jinmosal
Jeju's word for the beach's four-coloured volcanic sand
용두암 (龍頭岩)Yongduam
Dragon Head Rock, on Jeju's north coast at Jeju City
Cheonjeyeon waterfall dropping into its turquoise pool through dense green forest.

Day 7 · Sunday, 25 July 2027

Cheonjeyeon Waterfall

천제연폭포 (天帝淵瀑布)Cheonjeyeon Pokpo

Three falls, a pond twenty-one metres deep, and seven nymphs who come down at midnight.

The path drops into a gorge so green the light turns underwater. Warm-temperate forest closes over you — ferns wedged into rock seams, vines, birds you cannot name — and the air loses ten degrees in a hundred steps. The first fall comes off a cliff twenty-two metres up into a pond that goes down twenty-one more, jade at the rim and black in the middle, cold enough to ache your fingers. Downstream a second fall throws thirty metres of white water into the ravine, and a third runs out to the sea. Over the gorge arches Seonimgyo, and along its flank, carved in stone, seven women fly in trailing ribbons with instruments in their hands. You climb to the bridge at dusk. The gorge exhales. Standing there, it is very easy to believe the story.

The story behind it

The Seven Nymphs and the Pond of the Emperor of Heaven

Cheonjeyeon means the Pond of the Emperor of Heaven, and the legend claims that is exactly what it is. When the world is asleep and no human eye is on the water, seven seonnyeo — heavenly maidens in the service of the Emperor of Heaven — descend a bridge of cloud into the gorge. They bathe in the pool beneath the upper fall, play among the rocks, and climb back into the sky before dawn. A separate island belief holds that anyone who stands under the falling water on the fifteenth day of the seventh lunar month will be healed of illness by the eighth. Swimming is forbidden now. The seven are carved on the bridge instead.

In Korean folk cosmology the Emperor of Heaven commands the dragon kings of the four seas, who carry the rain. This pond bears his name — and its water falls three times down to the Dragon King's door.

What people actually do here

The nymphs are still honoured here: the Jungmun Chilseonyeo Festival, run by the village association, is staged each autumn in Cheonjeyeon Park beside the falls — recent editions have fallen in late September or early October — with a rite to the seven maidens, a re-enactment of their descent, and dancers in flowing seonnyeo robes. On ordinary days the etiquette is quieter. The gorge is a protected natural monument, so you keep to the boardwalk, take nothing away, and leave the pool alone.

The gorge became Natural Monument No. 378 in 1993. Its rock crevices shelter skeleton fork fern, a plant whose lineage predates flowers entirely.

Words you will see here

선녀 (仙女)seonnyeo
heavenly maiden or nymph, a stock figure of Korean myth
천제연 (天帝淵)Cheonjeyeon
"Pond of the Emperor of Heaven" — the deep pool below the first fall
선임교 (仙臨橋)Seonimgyo
the arched bridge over the gorge, carved with all seven nymphs
용왕 (龍王)Yongwang
the Dragon King, who rules the sea and delivers the rain

08

Day

長崎

Monday, 26 July 2027Port of call

Nagasaki

You walk through the Dragon Palace Gate

A flat, easy walk-off port. A Ming-style Chinese gate built to look like the entrance to the dragon king's undersea palace — and then the harbour seen whole from the hill above it.

The Ryugu-mon, the red-and-white Chinese-style Dragon Palace Gate at Sofuku-ji.

Day 8 · Monday, 26 July 2027

Sofuku-ji and the Dragon Palace Gate

崇福寺・龍宮門Sōfuku-ji Ryūgūmon

A red gate built to look like the door of the Dragon King's palace under the sea.

You climb a narrow street above Nagasaki's old Chinese quarter and it surfaces in front of you: a two-storey gate lacquered a red that has no business in a Japanese temple, roof corners flung upward, its whole face saying somewhere else. This is the Ryugumon, the Dragon Palace Gate, built to resemble the entrance of Ryugu-jo, the Dragon King's hall on the seabed. What stands here dates from 1849, after fire and typhoon took the earlier gates; it is an Important Cultural Property. Climb the steep stair behind it to the Daiippomon — a gate has stood here since 1644, but the one in front of you was cut and fitted in China in the 1690s, carried over in pieces by junk and raised in 1696, its underside a honeycomb of brackets in vermilion and gold. Past that stands the Daiyuhoden of 1646. Those two are the National Treasures. Off to one side Mazu keeps her own hall: the Chinese sea goddess who looked after the crews who paid for all this.

The story behind it

The Palace Under the Sea

Ryugu-jo is the palace of the Dragon King on the ocean floor, built of coral and crystal, where each of the four sides looks out on a different season. The fisherman Urashima Taro rescues a turtle and is carried down there; he stays what feels like three days, feasting with the Dragon King's daughter, and comes home to find three hundred years gone and every face he knew long dead. The merchants of Fuzhou who founded this temple in 1629 knew a related sovereign, Longwang, the Chinese dragon king of the waters they crossed for a living. So they built his gate at the foot of their temple. You walk in through the ocean floor to reach the Buddha.

The whole temple is entered through the Dragon King's front door. And Nagasaki still dances its Chinese dragon — the ja-odori, chasing a jewel through the streets each October at Kunchi.

What people actually do here

Buy a coil or a bundle of incense at the hall, light it from the flame, then wave it out rather than blowing — your breath is considered impure. Plant the sticks upright in the ash, press your palms together, bow once. At Obaku temples like this one, the sutras are still chanted using Ming-era Chinese pronunciation rather than Japanese readings.

In the famine of 1681–82 the priest Sengai had a cauldron cast here large enough to cook gruel for thousands a day. It still sits on the grounds.

Words you will see here

龍宮門Ryūgūmon
Dragon Palace Gate — the temple's red two-storey entrance
龍宮城Ryūgū-jō
the undersea palace of the Dragon King, seat of Ryūjin
黄檗Ōbaku
the Chinese-founded third school of Japanese Zen, based at Manpuku-ji
超然Chōnen
the Fuzhou monk invited to found the temple in 1629 (Ch. Chaoran)
The view over Nagasaki harbour from the terraces of Glover Garden.

Day 8 · Monday, 26 July 2027

Glover Garden & Dejima

グラバー園・出島Gurabā-en, Dejima

Japan's oldest Western house, on a hill above the harbour that built your ship.

Moving walkways carry you up the Minamiyamate slope through hydrangea and palm, and Nagasaki keeps opening below you: cranes, the long grey spine of the Mitsubishi shipyard, the Megami bridge across the harbour mouth, and your own ship somewhere down there. Glover House sits at the top with its verandah wrapped the whole way round, roof low over the windows, floorboards cut in 1863 that have not moved since — the oldest surviving Western-style wooden building in Japan. You wander through Ringer's house, then Alt's; the rooms smell of wax and old timber. Outside, two bronzes face each other on the terrace: Puccini, and the soprano Tamaki Miura in her Cio-Cio-San costume. Below is the harbour Butterfly watches all night, listening for a gun. Later, at sea level, sixteen rebuilt houses stand on Dejima — the fan-shaped island where the Dutch were penned for two centuries and through which Western science leaked into Japan.

The story behind it

Butterfly, Watching the Harbour

Puccini's Madama Butterfly opened in 1904 and put this hillside in front of the world: Cio-Cio-San, a girl of fifteen married to an American naval officer in a house above Nagasaki harbour, abandoned, waiting three years, keeping vigil at the window through an entire night, and taking her own life when he returns with an American wife. Nagasaki adopted the story wholesale. Thomas Glover married a Japanese woman, Awajiya Tsuru, and lived on a hill with a harbour view, so his home became "the Madame Butterfly House" — though there is no evidence his life was Puccini's source. The garden keeps statues of the composer and of Tamaki Miura, who sang Cio-Cio-San around the world.

Nagasaki's dragon came ashore off Chinese ships into this harbour. Every October the ja-odori dragons chase their jewel through the streets below this hill, and the Dragon Palace Gate is a tram ride away.

What people actually do here

A young Nagasaki custom, cheerfully unhistorical: two heart-shaped paving stones are set into the garden's walkways, and couples hunt them down, stand on both, and are said to be lucky in love afterwards. Nobody pretends it is ancient. Everybody does it anyway — you will see people photographing their own feet on a hillside full of Meiji history.

Glover smuggled the Choshu Five out of Japan in 1863, opened the Takashima coal mine, and helped found the brewery that became Kirin.

Words you will see here

出島Dejima
the fan-shaped artificial island that was Japan's only window on the West
蘭学rangaku
"Dutch learning" — Western science studied through the Dejima traders
蝶々さんChōchō-san
"Butterfly" — Cio-Cio-San, heroine of Puccini's Nagasaki opera
龍踊ja-odori
Nagasaki's Chinese-derived dragon dance, performed at Kunchi

09

Day

洋上

Tuesday, 27 July 2027A day at sea

At Sea

Nothing at all, deliberately

The Pacific on every side and no obligations. The one thing worth getting up for is the cypress bath on deck, open to the sea air.

The Izumi Japanese bath aboard the Diamond Princess, its cypress tubs facing the ocean.

Day 9 · Tuesday, 27 July 2027

The Izumi Japanese Bath

Izumi

The largest Japanese bath afloat: cypress, stone, steam and open ocean.

You leave your shoes and everything else in a locker on Deck 15, step through the noren, and the ship's noise simply stops. First the low stool and the hand shower: you sit, you soap, you rinse every trace away — twice if you are unsure — because nothing enters the water but clean skin. Then the cypress tub. The heat takes your breath for a second, somewhere around forty-one degrees, and the hinoki gives off that sharp lemon-cedar scent that only happens when the wood is wet and hot. Your small towel goes on your head, never in the bath. Through the glass there is nothing at all: no coastline, no lights, no other vessel, just the North Pacific going grey to the horizon while eight hundred square metres of stone and pale timber breathe steam at it.

The story behind it

Ryujin and the Two Tide Jewels

Japan's sea dragon is Ryujin, who lives in Ryugu-jo beneath the waves and keeps the tides in two jewels: the kanju, which draws the water away, and the manju, which calls it back. In the old chronicles the hunter Hoori loses his brother's fishhook, descends to the Dragon King's palace to find it, marries Ryujin's daughter Toyotama-hime, and returns with both jewels — which he uses to strand and then drown his brother into submission. Toyotama-hime follows him ashore to give birth and begs him not to watch. He watches. She is a great sea creature. Shamed, she goes back to the ocean forever. Her grandson, the chronicles say, becomes Japan's first emperor.

You are soaking in hot water directly above the Dragon King's roof. Ryujin's palace is the seabed, and the Pacific outside the cypress tub runs four kilometres deep in places.

What people actually do here

The rules are absolute and easy. Wash completely at the seated shower before you get in; the tub is for soaking, never for cleaning. No swimsuit in the traditional bath. Long hair goes up. The small tenugui towel rides on your head or the rim, never in the water. Do not swim, splash or hold court. Rinse the stool for whoever is next.

Izumi means "spring" or "source". Japan's Hot Spring Law only counts water that issues from the ground — at 25°C or more, or carrying enough of one of nineteen listed minerals — so a tub of heated ordinary water like this one is, strictly speaking, a sento.

Words you will see here

温泉onsen
hot spring — legally, water rising from the ground at 25°C+, or cold but mineral-rich
銭湯sentō
public bath of ordinary heated water; the neighbourhood kind
hinoki
Japanese cypress — the fragrant, rot-resistant timber of the finest tubs
かけ湯kakeyu
the rinse you pour over yourself before entering the water

10

Day

浅草

Wednesday, 28 July 2027Ashore

Yokohama → Asakusa

You become other people for an afternoon

Alongside at 06:30, ashore by eight, and in Asakusa by nine-thirty. Then three hours of white makeup, silk, lacquered armour and a camera. Skytree does the rest after dark.

A studio portrait from a geisha and samurai makeover session in Asakusa.

Day 10 · Wednesday, 28 July 2027

Geisha & Samurai: Studio cocomo

変身写真スタジオ cocomo 浅草Henshin Shashin Sutajio cocomo, Asakusa

Two hours to become a geisha and a samurai — real oshiroi, real armour, real weight.

The transformation happens in pieces and you feel every one. For her: hair scraped back and bound flat, then wax, then a brush loaded with oshiroi laying cold white over face, throat and the long V left bare at the nape — the one deliberate gap, the oldest flirtation in Japan. Eyebrows redrawn. Lower lip painted a small crushed red. Then the katsura goes on, a lacquered wig heavy enough that you change how you hold your neck, pinned with kanzashi. Then silk on silk until the hikizuri trails behind you across the studio floor and the brocade obi is pulled tight enough to make your posture someone else's. For him: laced scales, the do strapped down, sode at the shoulders, kabuto last with its crest rising off the brow. You look at each other. Neither of you is entirely in the room.

The story behind it

Why the Face is White

Tradition holds that in 692 a monk named Kanjo presented the Empress Jito with white face powder he had learned to make, and was rewarded for it — the first oshiroi in Japan. For a thousand years afterwards the powder was lead-based and quietly poisoned the women who wore it; safe formulas arrived only in the twentieth century. The white was never merely fashion. Geisha worked in rooms lit by candle and oil lamp, where a white face and a small red mouth read clearly across the dark while ordinary skin dissolved into it. The nape is left unpainted in two prongs — three for the most formal nights — a deliberate window of real skin at the back of the neck.

Dragons ride on both costumes: coiled through the gold brocade of an obi, and reared up as a maedate crest on the helmet — a warrior claiming the beast that commands water and storm.

What people actually do here

Geisha are artists, not a costume: years of training in dance, shamisen, song and conversation, and a strict ladder from maiko apprentice upward. A studio makeover is homage, not impersonation, so wear it properly. Small steps with the toes turned slightly in, chin down, hands folded low. Outdoors you lift the trailing hem in your left hand.

A full suit of Japanese armour weighs roughly 20–30kg, the helmet alone about three — which is why your first move wearing it is to find your balance.

Words you will see here

白粉oshiroi
the white face powder that is the base of the entire transformation
katsura
the lacquered, pinned wig worn by geisha (maiko style their own hair)
引きずりhikizuri
trailing kimono with a padded hem, dragged behind on the floor indoors
yoroi
samurai armour of small scales laced with silk; kabuto 兜 is the helmet
The Tokyo Skytree lit up at night above the rooftops of Asakusa.

Day 10 · Wednesday, 28 July 2027

Asakusa View Hotel

浅草ビューホテルAsakusa Byū Hoteru

A high window with Senso-ji floodlit below and the Skytree burning above it.

The lift doors open high on the Skytree side and the room has a small bay by the window with two chairs in it, which tells you exactly what this room is for. You sit. Directly below, Senso-ji is lit from underneath: the five-storey pagoda a stack of red and gold, the great sloping roof of the Main Hall, the Nakamise stalls shuttered down into a long line of painted panels. Behind it the Sumida turns black and silver. And past the river the Tokyo Skytree stands 634 metres up, changing colour to its own schedule — river blue tonight, or Edo purple, or orange. Old temple, new tower, one pane of glass. You kill the room lights so the reflections die, and stay at that window far longer than you meant to.

The story behind it

The Boy on the Sumida

In the Noh play Sumidagawa, a woman comes east from the capital out of her mind with grief, searching for her stolen son. A ferryman rows her across the Sumida and tells her, not knowing who she is, about a child slave traders abandoned sick on this bank a year before: the boy died at twelve, asked to be buried where the road passed, and asked travellers from the capital to say a prayer for him. It was her son. The villagers are keeping his anniversary that very night. She hears his voice inside their chanting, sees him at the burial mound, reaches for him — and at daybreak is holding nothing but grass. A temple upriver from your window still keeps his memory.

You are looking straight down onto Kinryu-zan, Golden Dragon Mountain. From this height you can trace the entire route the golden dragon dances on its two days of the year.

What people actually do here

Japanese hotels leave a yukata and a folded cord on the bed and expect you to use them: a light cotton robe, left panel crossed over right, always — right over left is how the dead are dressed. There is green tea and a small kettle by the window. Brew it, put the yukata on, and watch the temple.

The Skytree's 634 metres is a pun. Read as numerals, 6-3-4 is mu-sa-shi — Musashi, the ancient province Tokyo was built on.

Words you will see here

金龍山Kinryū-zan
"Golden Dragon Mountain" — Senso-ji's mountain name, lit up below you
隅田川Sumidagawa
the river beneath the window; the temple's founding river
浴衣yukata
unlined cotton robe supplied in the room and worn around the hotel
武蔵Musashi
the old province whose name gives the Skytree its exact height

11

Day

浅草・帰国

Thursday, 29 July 2027Ashore

Asakusa & Home

The golden dragon, and then the long way west

The Thunder Gate, a dragon pouring the water you wash with, and a golden dragon on the ceiling of the main hall. Then the bus from the lobby, and Montréal on the same calendar day.

The giant red lantern hanging beneath the Thunder Gate at Asakusa.

Day 11 · Thursday, 29 July 2027

Kaminarimon, the Thunder Gate

雷門(風雷神門)Kaminarimon (Fūraijinmon)

A 700-kilo red lantern, two furious weather gods, and a dragon hidden underneath.

You reach the gate through a crowd and it still lands like a blow. The lantern hangs nearly four metres tall and weighs seven hundred kilograms — bamboo ribs from Kyoto, some three hundred sheets of mulberry paper, the characters for KAMINARIMON inked taller than your arm. On your left, Raijin: red, wild-haired, ringed with drums, mouth open. On your right, Fujin: green, hauling a great bag of wind across his shoulders. They have guarded this entrance in one form or another since the tenth century and have burned down with it more than once. Then do the thing almost nobody does. Step under the lantern, stop dead, and look straight up into its base — there, carved in dark wood on the underside, a dragon coils. Beyond it the Nakamise runs 250 metres of light to the next gate.

The story behind it

The Wind God and the Thunder God

Raijin carries a ring of drums slung around him, and the drums are thunder. Where his lightning strikes, the old farming belief runs, the rice comes up rich — which is why a god this terrifying is also a god you want nearby. Fujin carries the winds in an enormous bag over his shoulders and lets them out: the typhoons, and also the divine wind that scattered two Mongol invasion fleets. Both travelled to Japan from India by way of China, and Tawaraya Sotatsu's seventeenth-century screen of the pair fixed their image for good. At Kaminarimon they are set as gatekeepers, and that is precisely the point: the worst weather on earth stands in the doorway, facing outward.

A dragon is carved into the underside of the great lantern, carried over from the lantern before it. And the plaque above reads Kinryu-zan: you are entering Golden Dragon Mountain.

What people actually do here

Temple etiquette begins right here. You bow once, lightly, before passing under the gate, and you keep out of the exact centre of the path, which is left clear for the deity. Then the Nakamise, a shopping street that has fed pilgrims since the 1600s, where the correct thing to do is eat the ningyo-yaki hot and standing up.

The gate burned in 1865 and the site stood empty for 95 years. Panasonic's founder rebuilt it in 1960 in thanks for a healing, and still funds the lantern.

Words you will see here

雷門Kaminarimon
Thunder Gate; formally Fūraijinmon, Gate of the Wind and Thunder Gods
提灯chōchin
collapsible paper lantern built on a spiralling bamboo frame
雷神Raijin
the thunder god, encircled by the ring of drums he beats
風神Fūjin
the wind god, carrying every wind in a bag across his shoulders
The bronze dragon of the Senso-ji purification fountain pouring water from its mouth.

Day 11 · Thursday, 29 July 2027

Senso-ji's Dragon Fountain

浅草寺・お水舎Sensō-ji Omizuya

Purify your hands under a bronze dragon king, with an ink dragon overhead.

Past the Hozomon, on the right, a small open pavilion with water running in it. Most people rinse and move on. Do not. Standing over the octagonal granite basin is a bronze dragon king, cast in 1903, reared up and coiled with a kind of sword-straight fury that a hundred and twenty years of Tokyo weather have turned green-black. This is Sakara Ryuo, one of the eight dragon kings who guard the Lotus Sutra, modelled by Takamura Koun — the sculptor behind the Saigo statue in Ueno. It was originally set in a fountain pond behind the Main Hall. Now look up. The pavilion ceiling carries a dragon painted in ink alone, black on pale wood, uncoiling directly over your head. You stand between two dragons and pour cold water over your hands. Nothing about a temple's water is accidental.

The story behind it

The Dragon King's Daughter

Sagara is the dragon king of the ocean, one of the eight naga kings who protect the Lotus Sutra. In the sutra's twelfth chapter his eight-year-old daughter appears before the assembly, and Shariputra objects: she is a child, she is not human, she is female, and a body like that cannot become a buddha. She does not argue. She offers the Buddha a jewel worth an entire world, he accepts it, and in the moment that takes she travels south, transforms, and attains perfect enlightenment in full view of everyone present. It is among the most-quoted passages in East Asian Buddhism. Her father's statue is the one standing on the basin, watching you wash your hands.

Two dragons at once: Sakara Ryuo in bronze on the basin, an ink dragon painted on the ceiling above him. Here the temple's water is guarded by the beings who own all water.

What people actually do here

Temizu, in one continuous motion: take the ladle in your right hand, pour over the left, swap and pour over the right, cup the left palm and take water to your mouth, rinse, and spit beside the basin — never into it, never straight from the ladle. Then tip the handle upright so the last water cleans it for the next person. Where ladles have been removed, simply cup your hands.

Guides sometimes call this the "divine dragon" fountain; the figure's proper name is Sakara Ryuo, and the ink dragon on the ceiling is by Azuma Shoko.

Words you will see here

手水舎temizuya
the roofed basin for rinsing hands and mouth before worship
柄杓hishaku
the long-handled ladle used for the purification
沙竭羅龍王Sakara Ryūō
Sāgara, dragon king of the ocean, cast in bronze above the basin
八大龍王hachidai ryūō
the Eight Great Dragon Kings, protectors of the Lotus Sutra
The golden dragon painted across the ceiling of the Senso-ji main hall.

Day 11 · Thursday, 29 July 2027

Senso-ji Main Hall & the Golden Dragon

浅草寺・観音堂Sensō-ji Kannon-dō

The hall the golden dragon came down for, with a dragon painted across its ceiling.

Up the steps into the Main Hall, and the crowd noise turns into something bigger and softer under the roof — coins landing on wood, the rope-bell, low chanting, incense soaked into every surface. Ahead, the inner sanctum glows gold around a shrine you cannot see into and never will: the Kannon pulled from the river in 628 is hibutsu, hidden, shown to nobody, not even the priests. Now tip your head back. The ceiling carries three enormous panels, each roughly six metres by five — two crowds of heavenly beings by Domoto Insho, and between them Kawabata Ryushi's dragon, painted on washi in 1958 when the hall rose again out of the firebombing. One thing to know: the dragon peeled off that ceiling on 8 July 2023 and was taken away for a restoration the temple said would run several years. Within weeks Senso-ji hung a full-size, high-resolution reproduction in the same frame, so there is a dragon overhead either way — and unless the original is home by the time you visit, the one you photograph is the copy.

The story behind it

The Golden Dragon and the Thousand Pines

On the eighteenth day of the third month, 628, two fishermen brothers — Hinokuma no Hamanari and Hinokuma no Takenari — hauled their net from the Sumida and found a tiny golden figure caught in it. In many tellings they cast it back and it returned to the net. They carried it to Haji no Nakatomo, the local headman, who recognised Sho Kannon, bodhisattva of compassion, shaved his head and turned his own house into a temple. A thousand pines rose overnight across the marsh, and three days later, the temple's own telling goes, a dragon with golden scales came down out of the sky into that pine grove. The temple has been Kinryu-zan — Golden Dragon Mountain — ever since. All three men are enshrined next door at Asakusa Shrine.

This is the dragon's own hall: a golden dragon named the mountain in 628, Kawabata Ryushi painted one across the 1958 ceiling, and eight dancers still bring an 18-metre one down the approach.

What people actually do here

Senso-ji still draws its fortunes from the old Kannon hundred-slip set and, unlike most temples, has never softened the odds: about thirty per cent come out kyo, bad luck. That is deliberate. Shake the metal canister, take the numbered stick, open the matching drawer — and if the news is bad, fold it and tie it to the rack, leaving the luck behind you.

The Kinryu-no-mai golden dragon is 18 metres long, weighs 88kg, carries 8,888 scales, and dances only on 18 March and 18 October.

Words you will see here

金龍山Kinryū-zan
"Golden Dragon Mountain" — the temple's mountain name, from the legend
秘仏hibutsu
"hidden buddha" — an image kept permanently out of sight
金龍の舞Kinryū-no-mai
the Golden Dragon Dance, created in 1958 for the hall's rebuilding
おみくじomikuji
paper fortune drawn by numbered lot at a shrine or temple

Things you will do with your hands

How to join in, rather than watch

None of this is difficult and nobody will mind if you get it wrong. But knowing the sequence turns you from someone watching a ritual into someone taking part in one — and that is a much better afternoon.

Purifying at the basin

手水舎 · temizuya

Every shrine — and, memorably, the dragon's mouth at Sensō-ji

  1. 01Take the ladle in your right hand and rinse your left.
  2. 02Swap hands and rinse your right.
  3. 03Back in the right hand, pour water into your cupped left palm and rinse your mouth from the palm — never from the ladle.
  4. 04Rinse the left hand once more, then tip the ladle upright so the last of the water runs down the handle and cleans it for the next person.

One scoop is meant to do all four steps. Don't refill.

Praying at a shrine

二礼二拍手一礼 · ni-rei ni-hakushu ichi-rei

Ryūgūsha, Futami Okitama, Ryūō, Enoshima

  1. 01Drop a coin in the box — a five-yen piece if you have one; go-en puns on ご縁, 'a connection formed'.
  2. 02Ring the bell if there is one, to let the kami know you have come.
  3. 03Bow deeply twice.
  4. 04Clap twice, hold your hands together, and say what you came to say.
  5. 05Bow deeply once more.

Walk in at the side of the torii, not down the middle — the centre line is the kami's own path.

At a Buddhist temple instead

合掌 · gasshō

Sensō-ji, Sōfuku-ji

  1. 01Bow once at the gate.
  2. 02Wash at the basin as above.
  3. 03At the great incense burner, pull the smoke over yourself — over whatever hurts.
  4. 04Offer a coin, press your palms together silently, and bow.

Do not clap at a temple. Clapping is for kami, not for buddhas — this is the single most common visitor slip.

Bathing properly

温泉 · onsen

The Izumi bath, on the way home across the Pacific

  1. 01Undress completely in the changing room; nothing goes into the bath but you.
  2. 02Sit on a stool at the taps and wash and rinse thoroughly — the bath is for soaking, not cleaning.
  3. 03Tie long hair up, and keep the small towel out of the water. Most people fold it on their head.
  4. 04Get in slowly. Stay as long as it feels good and no longer.

The Izumi bath is one of very few at sea, because the Diamond Princess was built in Nagasaki.

Ten more things worth knowing

Small courtesies that cost nothing and change how a place receives you. Open the ones you don’t already know.

Collecting a goshuin御朱印 · goshuin
  1. 01Buy the book first — a goshuinchō, around ¥1,500–2,000 at any shrine office. Enoshima is your first chance.
  2. 02Pray at the hall before you ask. The stamp records a visit you actually made, so the visit comes first.
  3. 03Find the desk marked 御朱印 or 授与所, open the book flat to the next blank page, and hand it over with both hands: goshuin o onegaishimasu.
  4. 04Leave ¥300–500 in coins on the tray, then wait quietly — it is written by hand and takes a few minutes.
  5. 05Keep the book for goshuin only. Station stamps and tourist-site stamps go somewhere else.

It is not a souvenir stamp but a priest's handwritten record that you came and paid respects — which is why the order matters, why nobody will write one for a friend who stayed on the ship, and why turning up at closing time may get you a polite no.

Writing an ema絵馬 · ema
  1. 01Buy a wooden plaque at the shrine office — usually ¥500–1,000 — and use the pens set out beside the rack.
  2. 02Write on the blank side and leave the painted face alone, unless the shrine's own sign says otherwise.
  3. 03Be specific. A wish is addressed to this particular kami, so 'a calm crossing home' beats 'happiness'.
  4. 04Add your first names if you like; the traditional address line is entirely optional for visitors.
  5. 05Hang it on the rack with the picture facing outward, and leave it there.

The temptation is to take the plaque home as a keepsake, but the whole gesture is the leaving — the shrine gathers up the year's ema and ritually burns them, releasing the wishes.

Wearing the kimono the right way round右前 · migi mae
  1. 01Wrap the right panel against your body first, then bring the left panel across over the top of it.
  2. 02Check a mirror: seen from the front, the collar should make a lowercase 'y'.
  3. 03Let the dresser tie and re-tie the obi. It is meant to feel firm and held, not loose.
  4. 04Take short steps, keep your arms low, and lift the hem slightly on stairs — the sleeves catch on everything.
  5. 05Sit by smoothing the back of the skirt underneath you rather than dropping into the chair.

Right panel over left is how the dead are dressed for burial — hidari-mae — and it is the one mistake a Japanese passer-by will genuinely notice, so if a staff member reaches over to fix your collar without asking, let them.

Chopsticks箸 · hashi
  1. 01Rest them on the hashioki, the little ceramic rest. No rest? Fold the paper sleeve into one.
  2. 02Never stand them upright in a bowl of rice — that is exactly how rice is offered to the dead.
  3. 03Never pass food chopstick-to-chopstick. Set it down on the other person's plate instead.
  4. 04Don't point with them, wave them while talking, spear food, or dig through a shared dish for the good bit.
  5. 05Take from communal plates with the serving chopsticks when they are provided.

The upright-in-rice and chopstick-to-chopstick taboos both come straight from Buddhist funeral rites — that is why they land quite differently from ordinary clumsiness, and why a Japanese diner will wince rather than laugh.

Shoes off, and the slipper rules玄関 · genkan
  1. 01Watch for the step up and the rack of shoes. That raised lip — the genkan — is the border, not the door.
  2. 02Step out of your shoes onto the raised floor, then turn and set them neatly pointing back the way you came.
  3. 03Wear the house slippers on wood and lino, but take them off before you step on tatami. Socks only on the mats.
  4. 04Change into the toilet slippers waiting inside the washroom — and change back out of them on the way out.
  5. 05Pack shoes you can slip off standing up, and socks you would be happy to be seen in.

Walking back into the restaurant still wearing the toilet slippers is the classic foreign-visitor mistake in Japan, and every single person in the room will spot it before you do.

Bowing, and managing without the languageお辞儀 · ojigi
  1. 01Bow from the waist with a straight back, hands at your sides or folded in front, eyes down rather than on the other person.
  2. 02Match what you are given: a small nod for a shop greeting, a slower and deeper bend when the thanks really means something.
  3. 03Learn four things and use them all day — sumimasen, arigatō gozaimasu, onegaishimasu, hai.
  4. 04Point at the item rather than the person, and hold your translation app out to be read instead of reading it aloud.
  5. 05Don't offer a handshake unless a hand comes out first, and never a hug.

The instinct is to apologise at length for not speaking Japanese, but a bow and a sumimasen have already done that job — it is the over-explaining in English that actually makes the exchange awkward.

Paying, and not tippingお会計 · o-kaikei
  1. 01Carry cash. Shrines, temples, market stalls and owner-run shops still take coins and notes only, and goshuin desks always will.
  2. 02Hoard your coins — small ones for offering boxes, ¥500 pieces for goshuin. Exact change is the courteous way to pay.
  3. 03Put the money on the little tray on the counter rather than into the cashier's hand, and lift your change back off the tray.
  4. 04Pass notes and cards with both hands, and expect your change to be counted back to you aloud.
  5. 05Never tip — not the driver, not the guide, not the restaurant.

Japan has gone far more cashless than its reputation suggests, but the exact things you will want to spend on here — offerings, charms, goshuin, street food at Nakamise — are precisely the ones that never took cards; and a tip left on a table reads as money forgotten, so someone will chase you down the street to return it.

Photographs撮影禁止 · satsuei kinshi
  1. 01Look for the 撮影禁止 sign before you raise the camera. Inside temple and shrine halls, assume no unless told otherwise.
  2. 02Never photograph an altar, a statue behind its screen, or a priest mid-ritual.
  3. 03Ask before photographing a person — camera raised, questioning look, and a shake of the head means no.
  4. 04Step out of the walking line to shoot. Blocking the approach through a torii or a shop doorway is the real offence.
  5. 05Silence the shutter if your phone allows it, and put the camera down entirely while someone beside you is praying.

On your kimono day in Asakusa you will be the one strangers want to photograph — the courtesy runs both ways, and you are completely entitled to smile and decline.

Tattoos and the bath入れ墨 · irezumi
  1. 01Don't worry about the ship. Izumi is run for an international passenger list and does not turn tattooed guests away.
  2. 02Ashore, assume the opposite — roughly half of Japan's baths still refuse, and the person on the desk cannot make an exception.
  3. 03Carry waterproof cover patches for anything small; plenty of places will accept a covered tattoo even where the sign says no.
  4. 04Ask whether there is a kashikiri, a private bath you can book by the hour, which sidesteps the question entirely.
  5. 05If you are refused, take it lightly and move on.

The rule is a leftover from the days when a tattoo meant yakuza membership, and it is genuinely loosening — Japan's tourism agency now asks operators to hand out cover stickers — but the staff member saying no is enforcing a house policy, not passing judgement on you.

Korea for the day두 손으로 · du son euro
  1. 01Give and receive with both hands — money, a card, a bag, a shopping basket — or steady your right forearm with your left hand.
  2. 02Never pour your own drink. Fill your partner's glass, let them fill yours, and hold your glass with both hands while they do.
  3. 03Take your shoes off at floor-seating restaurants and guesthouses, exactly as in Japan.
  4. 04Bow shallower than you have been — a nod of the head, not a bend from the waist — and skip the tip here too.
  5. 05Treat Jeju as its own place rather than a Korean footnote or a Japanese near-miss; the history between the two countries is not light conversation.

Two hands is the whole of Korean etiquette in miniature — it means 'you have my full attention' — which is why handing something over one-handed reads not as casual but as dismissive.

Draw a fortune before you go

You will do this for real at least twice on this trip. Here is a practice run.

おみくじ

At Meoto Iwa you will pull a fortune out of a bronze frog’s mouth; at the shrine above Katsurahama, from a shrine keeper’s hand. Shake the box, tip out a numbered stick, and the priest hands you the slip that matches the number.

Twelve grades run from 大吉 down to 大凶. Try one.

Homework, but the good kind

Watch these before you leave

An evening’s viewing between now and July 2027. Shrine manners, the bath, chopsticks, enough Japanese to be polite — and a look at the two ports where a day ashore goes fastest.

Shrine Etiquette: Bow, Rinse, Clap, Bow

This trip is shrine-heavy: Enoshima's dragon shrine, Ryugusha in Toba, Ryūō-gū at Katsurahama. Paolo walks the full sequence, from the torii bow and temizuya rinse to coin, two bows, two claps, one bow.

Paolo fromTOKYO·Japan Shrine Manners | DONT make FOREIGNER MISTAKES

Onsen Rules Before the Izumi Bath

The Diamond Princess's Izumi bath follows Japanese rules: wash seated and fully before entering, no towel in the water, no swimsuit. Japan Guide films the actual sequence, so you walk in already knowing the choreography.

Japan Guide·Bathing at a Japanese Hot Spring | Onsen Etiquette

Chopstick Taboos You'd Never Guess

Shogo covers the chopstick habits that read as rude in Japan: passing food chopstick to chopstick, standing them upright in rice, spearing. Useful in the ship's dining rooms and at every port lunch from Kochi to Nagasaki.

Let's ask Shogo | Your Japanese Friend in Kyoto·Tutorial on How to Hold/Use Them Correctly | 10 Things You Should NEVER Do With Chopsticks in Japan

50 Survival Phrases for the Ports

Fifty phrases at beginner pace: sumimasen, arigato gozaimasu, ordering, asking directions, numbers. Outside Tokyo and Yokohama, in Toba, Kochi and the Kanmon Straits towns, English thins out fast and these carry you.

Easy2LearnJapanese·50 Basic SURVIVAL Japanese Phrases for Travellers!

Goshuin: The Souvenir Worth Collecting

Buy a goshuincho and each shrine or temple hand-brushes a calligraphy stamp. Senso-ji, Enoshima and Sofuku-ji all offer them. This explains the etiquette, the cost, and why it beats anything from a gift shop.

Anne in Wonderland·Your Ultimate Guide to Collecting Goshuin Stamps In Japan

Senso-ji and Asakusa, Walked Through

Your Tokyo day: Kaminarimon's giant lantern, Nakamise street, Senso-ji itself, and Skytree nearby. An orientation guide so you spend those hours looking at things rather than working out where they are.

Kensho Quest·Guide to Sensoji Temple in Asakusa Tokyo, Plus Skytree!

Nagasaki: Triaging One Port Day

A first-visit orientation to Glover Garden, the Peace Park, Dejima and Chinatown, so you can decide in advance what actually fits into a single day ashore rather than losing time choosing.

Laurens & Laura·What to do in NAGASAKI during your first visit | Japan Travel

Jeju: Your One Stop in Korea

Your only Korean port, and a different country with different customs. Covers Jungmun Beach, Cheonjeyeon Falls and Seongsan, enough to pick two or three that fit a short call rather than improvising at the pier.

World Wild Hearts·JEJU ISLAND, SOUTH KOREA (2026) | 10 Best Things To Do On Jeju (+ Travel Tips)

Videos are embedded from YouTube and load only when you press play. Each one was checked to be live and embeddable at build time — if a creator later takes one down, the card will show YouTube’s own message.

64 phrases, said out loud

Enough to be understood, and polite

Press the speaker on any line to hear it. The slashed line underneath is a respelling for an English mouth — Japanese has no stressed syllable, so give every beat the same weight and you will already sound better than most.

The absolute basics

Japanese

These nine cover roughly eighty percent of the social contact you'll have, and Japanese people are genuinely delighted when visitors attempt them.

  • Hello / good afternoon

    こんにちは

    Konnichiwa

    /kon-ni-chi-wa/

    The daytime greeting, roughly 10am until dark. The final は is written 'ha' but always pronounced 'wa'.

  • Good morning

    おはようございます

    Ohayō gozaimasu

    /o-ha-yo-o go-za-i-mass/

    Before about 10am. You can drop the gozaimasu with friends, but never with hotel or shop staff.

  • Good evening

    こんばんは

    Konbanwa

    /kom-ban-wa/

    After dark. The n before b naturally softens to an m sound. Same は-pronounced-wa rule as konnichiwa.

  • Thank you

    ありがとうございます

    Arigatō gozaimasu

    /a-ri-ga-to-o go-za-i-mass/

    Use the past form ありがとうございました (arigatō gozaimashita, 'a-ri-ga-to-o go-za-i-mash-ta') when the kindness is finished, such as leaving a shop or restaurant.

  • Excuse me / sorry / thanks for the trouble

    すみません

    Sumimasen

    /su-mi-ma-sen/

    The single most useful word in Japan. It does the work of excuse me, sorry, and thank-you-for-going-to-the-trouble all at once. Use it to flag down staff, to squeeze past someone on a train, and to accept a small favour. When in doubt, say this.

  • Please (when asking for something)

    お願いします

    Onegai shimasu

    /o-ne-ga-i shi-mass/

    Attach it to almost any request, or say it alone while handing something over. Softer and more polite than ください (kudasai).

  • Yes

    はい

    Hai

    /ha-i/

    Often means 'I'm listening' rather than 'I agree'. Japanese people say it constantly through a conversation, so don't read every hai as consent.

  • No

    いいえ

    Iie

    /i-i-e/

    Sounds blunt in real use. To turn something down, 大丈夫です (daijōbu desu, 'da-i-jo-o-bu dess', literally 'I'm fine') is far more natural and is what locals actually say.

  • Goodbye

    さようなら

    Sayōnara

    /sa-yo-o-na-ra/

    Heavier and more final than English 'goodbye' — it carries a hint of not meeting again, so it sounds odd leaving a café. Locals say ありがとうございました or 失礼します (shitsurei shimasu, 'shi-tsu-re-e shi-mass') instead.

Finding things

Japanese

Ask while showing a map or your phone screen — Japanese people will very often walk you there rather than try to explain.

  • Where is the bathroom?

    トイレはどこですか

    Toire wa doko desu ka

    /to-i-re wa do-ko dess ka/

    トイレ is completely normal and neutral, not crude. お手洗い (o-tearai, 'o-te-a-ra-i') is the politer version for a nice restaurant or a ryokan.

  • Where is the station?

    駅はどこですか

    Eki wa doko desu ka

    /e-ki wa do-ko dess ka/

    Put the name first: 東京駅はどこですか. Staff at the green みどりの窓口 ticket window are used to helping foreign visitors.

  • Where is the taxi stand?

    タクシー乗り場はどこですか

    Takushī noriba wa doko desu ka

    /tak-shi-i no-ri-ba wa do-ko dess ka/

    乗り場 means 'boarding point' and works for buses (バス乗り場) and ferries too. Where there is a rank, never hail a cab on the street — join the queue. Rear doors open automatically; don't touch them.

  • Where is the exit? (entrance = iriguchi)

    出口はどこですか

    Deguchi wa doko desu ka

    /de-gu-chi wa do-ko dess ka/

    Swap 出口 for 入口 (iriguchi, 'i-ri-gu-chi') to ask about the entrance. Large stations have many named exits — 東口 east, 西口 west, 北口 north, 南口 south — and the exit number matters more than the station name.

  • Left

    Hidari

    /hi-da-ri/

    As a direction, say 左です (hidari desu) — 'it's on the left'.

  • Right

    Migi

    /mi-gi/

    右です (migi desu) — 'it's on the right'. Remember Japan drives on the left and people generally walk on the left too, except in Osaka.

  • Straight ahead

    まっすぐ

    Massugu

    /mas-su-gu/

    The double s is held for a beat — 'mass' then 'sugu'. まっすぐです means 'straight ahead'.

  • Here

    ここ

    Koko

    /ko-ko/

    ここです ('it's here'). Very useful pointing at an address on your phone for a taxi driver.

  • Over there

    あそこ

    Asoko

    /a-so-ko/

    Japanese splits 'there' three ways: ここ here by me, そこ (soko) there by you, あそこ over there away from both of us.

  • Is it far?

    遠いですか

    Tōi desu ka

    /to-o-i dess ka/

    The answers you want are 近いです (chikai desu, 'it's close') or 歩けます (arukemasu, 'you can walk it').

Eating and drinking

Japanese

Ordering by pointing is completely normal — but say the allergy line before you order, never after the food arrives.

  • A table for two (two people)

    二人です

    Futari desu

    /fu-ta-ri dess/

    Hold up two fingers as you say it. Staff will greet you with 何名様ですか (nan-mei-sama desu ka) — 'how many in your party?'

  • The menu, please

    メニューをお願いします

    Menyū o onegai shimasu

    /me-nyu-u o o-ne-ga-i shi-mass/

    For an English menu ask 英語のメニューはありますか (eigo no menyū wa arimasu ka). Most tourist-area restaurants have one, a picture menu, or a QR code.

  • Water, please

    お水をお願いします

    O-mizu o onegai shimasu

    /o-mi-zu o o-ne-ga-i shi-mass/

    Tap water and tea are free and usually brought unasked. The restaurant word for iced water is お冷 (o-hiya). Asking for a refill is never rude.

  • This one, please (while pointing)

    これをください

    Kore o kudasai

    /ko-re o ku-da-sa-i/

    Pointing at the menu, the plastic food display in the window, or even another table's dish is completely acceptable and not considered rude.

  • I have a ___ allergy

    ○○アレルギーがあります

    ○○ arerugī ga arimasu

    /___ a-re-ru-gi-i ga a-ri-mass/

    Say this BEFORE ordering, and use the word アレルギー — the softer 〇〇は食べられません (taberaremasen, 'I can't eat it') is often heard as a preference and quietly ignored. Allergen words: 卵 tamago egg, 乳製品 nyū-see-hin dairy, 小麦 ko-mu-gi wheat, そば so-ba buckwheat, ピーナッツ pi-i-nat-tsu peanut, ナッツ nat-tsu tree nuts, えび e-bi shrimp, かに ka-ni crab, 魚 sa-ka-na fish. Carry a printed Japanese allergy card: dashi fish stock and wheat-based soy sauce hide in almost everything.

  • Does this contain ___?

    これに○○が入っていますか

    Kore ni ○○ ga haitte imasu ka

    /ko-re ni ___ ga ha-it-te i-mass ka/

    The direct question, and the one to fall back on. 入っています means 'it's in there'. Treat any hesitation or a drawn-out ちょっと… (chotto) as a yes.

  • No wasabi, please

    わさび抜きでお願いします

    Wasabi nuki de onegai shimasu

    /wa-sa-bi nu-ki de o-ne-ga-i shi-mass/

    抜き means 'with it taken out' and works for other things — ねぎ抜き (negi nuki) for no spring onion. Say it when ordering, before the sushi is made. Sushi chefs shorten it to さび抜き (sabi nuki).

  • Is it spicy?

    辛いですか

    Karai desu ka

    /ka-ra-i dess ka/

    Japanese 'spicy' is mild by Canadian standards. The two things that genuinely catch people out are wasabi and からし (karashi) mustard, which hit the sinuses rather than the tongue.

  • The bill, please

    お会計をお願いします

    O-kaikei o onegai shimasu

    /o-ka-i-ke-e o o-ne-ga-i shi-mass/

    In many places you carry the slip from your table to the register by the door instead of paying seated. Never tip — it causes real confusion and staff will often chase you to return the money.

  • It was delicious / thank you for the meal

    ごちそうさまでした

    Gochisōsama deshita

    /go-chi-so-o-sa-ma desh-ta/

    Said to the staff as you leave, and it lands well every time. Its partner いただきます (itadakimasu, 'i-ta-da-ki-mass') is said quietly before the first bite. To praise the food mid-meal, おいしいです (oishii desu, 'o-i-shi-i dess').

Money and shopping

Japanese

Japan runs on cash far more than Canada does, and shop prices are fixed — there is essentially no haggling outside flea markets.

  • How much is it?

    いくらですか

    Ikura desu ka

    /i-ku-ra dess ka/

    Point and add これは: これはいくらですか (kore wa ikura desu ka). Prices are almost always shown tax-included, marked 税込 (zeikomi).

  • That's expensive

    高いですね

    Takai desu ne

    /ta-ka-i dess ne/

    This is a remark, not the opening of a negotiation. Haggling is not done in Japanese shops and attempting it is simply awkward. The ね on the end softens it to 'that's a bit pricey, isn't it'.

  • Can I pay by card?

    カードは使えますか

    Kādo wa tsukaemasu ka

    /ka-a-do wa tsu-ka-e-mass ka/

    When handing the card over, just カードでお願いします (kādo de onegai shimasu). Small restaurants, shrines, ramen ticket machines, and rural shops are frequently cash-only, so keep ¥10,000 or so on you at all times.

  • Cash

    現金

    Genkin

    /gen-kin/

    現金のみ (genkin nomi) on a sign means cash only. 7-Eleven and Japan Post ATMs reliably accept Canadian debit and credit cards; many domestic bank ATMs will reject them.

  • A bag, please

    袋をください

    Fukuro o kudasai

    /fu-ku-ro o ku-da-sa-i/

    Plastic bags have cost a few yen since 2020. Staff will ask 袋はご利用ですか (fukuro wa go-riyō desu ka) — 'do you need a bag?' — to which はい or 大丈夫です both work.

  • I'm just looking

    見ているだけです

    Mite iru dake desu

    /mi-te i-ru da-ke dess/

    You'll hear the contracted 見てるだけです (miteru dake desu) more often. In practice a smile plus 大丈夫です (daijōbu desu) does the same job and is easier to say.

  • Tax-free, please

    免税でお願いします

    Menzei de onegai shimasu

    /men-ze-e de o-ne-ga-i shi-mass/

    Tax-free shopping needs your actual passport, not a photocopy or a photo, at a shop displaying a Tax-Free logo, usually over about ¥5,000. Consumables get sealed in a bag you must not open before leaving Japan. Carry the passport on shopping days.

  • May I try this on?

    試着してもいいですか

    Shichaku shite mo ii desu ka

    /shi-cha-ku shi-te mo i-i dess ka/

    Shops often hand you a thin face cover to pull over your head so makeup doesn't mark the garment. Take your shoes off at the step into the fitting room.

When something goes wrong

Japanese

Japan is extremely safe and lost property genuinely comes back, but the emergency numbers differ from Canada: 110 for police, 119 for fire and ambulance.

  • Help!

    助けて!

    Tasukete!

    /tas-ke-te/

    For a genuine emergency — shout it. The u in 助 is swallowed, so it sounds like 'tas-ke-te'. On a crowded train, the phrase that brings immediate help against a groper is 痴漢です (chikan desu, 'chi-kan dess').

  • I'm lost

    道に迷いました

    Michi ni mayoimashita

    /mi-chi ni ma-yo-i-mash-ta/

    Show the map on your phone as you say it. Police boxes (交番, kōban, 'ko-o-ban') sit on most busy corners and giving directions is a large part of what they're for.

  • Does anyone speak English?

    英語を話せる人はいますか

    Eigo o hanaseru hito wa imasu ka

    /e-e-go o ha-na-se-ru hi-to wa i-mass ka/

    英語 has a long e — 'ee-go', not 'ay-go'. Asking one person directly, the softer 英語は話せますか (eigo wa hanasemasu ka) is better; many people will say no out of modesty and then help anyway.

  • I don't understand

    わかりません

    Wakarimasen

    /wa-ka-ri-ma-sen/

    日本語がわかりません (nihongo ga wakarimasen) is 'I don't understand Japanese'. Holding out your phone with a translation app open is completely normal and people will happily type into it.

  • Please say that again slowly

    もう一度ゆっくりお願いします

    Mō ichido yukkuri onegai shimasu

    /mo-o i-chi-do yuk-ku-ri o-ne-ga-i shi-mass/

    Politer than it looks and remarkably effective. もう一度 is 'one more time', ゆっくり is 'slowly'. People will slow right down without any offence taken.

  • I need a doctor

    医者を呼んでください

    Isha o yonde kudasai

    /i-sha o yon-de ku-da-sa-i/

    For an ambulance, 救急車を呼んでください (kyūkyūsha o yonde kudasai) or dial 119 — ambulances themselves are free. Hospitals bill foreign visitors directly and often in cash, so travel insurance matters.

  • Where is a pharmacy?

    薬局はどこですか

    Yakkyoku wa doko desu ka

    /yak-kyo-ku wa do-ko dess ka/

    薬局 is a dispensing pharmacy for prescriptions; for everyday medicine look for a ドラッグストア (doraggu sutoa) — Matsumoto Kiyoshi, Welcia, Sundrug. Important: several ordinary Canadian cold and allergy medicines containing pseudoephedrine are illegal to bring into Japan, so check before you pack.

  • I've lost my passport

    パスポートをなくしました

    Pasupōto o nakushimashita

    /pa-su-po-o-to o na-ku-shi-mash-ta/

    Go to the nearest 交番 (kōban) police box first for a written loss report, then the Embassy of Canada in Tokyo (Akasaka) for an emergency travel document. Keep a photo of the ID page somewhere separate from the passport itself.

  • Please call the police

    警察を呼んでください

    Keisatsu o yonde kudasai

    /ke-e-sa-tsu o yon-de ku-da-sa-i/

    Police is 110, fire and ambulance is 119 — neither is 911. Lost items are very often handed in: ask at a station's 遺失物 (ishitsubutsu) lost property counter or at any kōban.

At a shrine or temple

Japanese

Shrines are Shinto and temples are Buddhist; both welcome respectful visitors, and the etiquette is simple once you know the running order.

  • May I take a photo?

    写真を撮ってもいいですか

    Shashin o totte mo ii desu ka

    /sha-shin o tot-te mo i-i dess ka/

    Always ask before photographing inside a hall, a priest, or a ceremony. 撮影禁止 (satsuei kinshi) on a sign means no photography and is common inside main halls, even where the grounds are fine.

  • May I have a goshuin, please?

    御朱印をお願いします

    Goshuin o onegai shimasu

    /go-shu-in o o-ne-ga-i shi-mass/

    Pray first — walking straight to the stamp desk is a genuine breach of etiquette. Hand your book over open to the blank page you want used. A goshuin is a record of worship, not a souvenir stamp, so don't ask for one in an empty notebook. Usually ¥300–¥500, cash, exact change appreciated.

  • Where can I receive a goshuin?

    御朱印はどこでいただけますか

    Goshuin wa doko de itadakemasu ka

    /go-shu-in wa do-ko de i-ta-da-ke-mass ka/

    Look for a desk signed 御朱印所 (goshuinjo) or 授与所 (juyosho). The book itself, a 御朱印帳 (goshuinchō), is sold at most large shrines for around ¥1,500–¥2,000 and makes a far better souvenir than anything in a gift shop.

  • How much is the offering?

    お賽銭はいくらですか

    O-saisen wa ikura desu ka

    /o-sa-i-sen wa i-ku-ra dess ka/

    Expect a puzzled look — there is no set amount and asking is slightly odd, since sincerity is the point rather than the sum. A ¥5 coin is traditional because go-en puns on ご縁, 'a good connection'. Drop it in gently rather than throwing. At a shrine the sequence is: bow twice, clap twice, pray, bow once. At a temple there is no clapping — just press your palms together.

  • Do I take my shoes off?

    靴を脱ぎますか

    Kutsu o nugimasu ka

    /ku-tsu o nu-gi-mass ka/

    At most temple halls, yes. There will be a step up, a shoe rack, or a plastic bag to carry them in. Wear socks and slip-on shoes on temple days, and expect the same rule in traditional restaurants and ryokan.

  • May we go inside?

    中に入ってもいいですか

    Naka ni haitte mo ii desu ka

    /na-ka ni ha-it-te mo i-i dess ka/

    Some inner halls carry a separate ¥300–¥800 admission and some are closed to the public entirely. A small gesture toward the doorway with this phrase gets a clear yes or no.

  • What time do you close?

    何時までですか

    Nanji made desu ka

    /nan-ji ma-de dess ka/

    Shrine grounds are often open late or all night, but the office and the goshuin desk typically close around 16:00–16:30. 拝観時間 (haikan jikan) on a sign means visiting hours.

  • Thank you very much (polite, for a kindness received)

    どうもありがとうございました

    Dōmo arigatō gozaimashita

    /do-o-mo a-ri-ga-to-o go-za-i-mash-ta/

    The past tense form, for something already done for you — the right one after receiving a goshuin, a blessing, or directions. Add a small bow from the waist; the bow carries more weight than the words do.

One day in Korea — Jeju

Korean

Jeju has a famously distinct dialect, but everyone speaks and understands standard Korean, so these ten will carry you comfortably through a port day.

  • Hello

    안녕하세요

    Annyeonghaseyo

    /an-nyong-ha-se-yo/

    Works all day and in every situation, from a shopkeeper to a stranger on a path. Add a small nod as you say it. Korean bowing is lighter and quicker than Japanese bowing.

  • Thank you

    감사합니다

    Gamsahamnida

    /kam-sa-ham-ni-da/

    The ㅂ in 합 assimilates to an m before the following n, so it is 'ham-ni-da' and never 'hap-nee-da' — this is the mistake foreigners make most. 고맙습니다 (gomapseumnida, 'ko-map-sseum-ni-da') is equally polite and slightly warmer.

  • Excuse me (to get attention)

    저기요

    Jeogiyo

    /juh-gi-yo/

    This is how you call a waiter or flag down a stranger — said out loud across a restaurant, which feels rude to Canadians but is entirely normal in Korea. For squeezing past someone, use the formal 실례합니다 (sillyehamnida, 'shil-lye-ham-ni-da') instead.

  • Yes

    Ne

    /ne/

    Often comes out sounding like 'de'. Like Japanese hai, it frequently just signals 'I'm listening'. 예 (ye) is a more formal variant you'll hear from staff.

  • No

    아니요

    Aniyo

    /a-ni-yo/

    To decline something being offered, 괜찮아요 (gwaenchanayo, 'gwen-cha-na-yo' — 'I'm fine, thanks') is much softer and more natural than a flat no.

  • Where is the bathroom?

    화장실이 어디예요?

    Hwajangsiri eodiyeyo?

    /hwa-jang-shi-ri uh-di-ye-yo/

    The final ㄹ of 화장실 links into the next syllable, giving 'shi-ri'. In a pinch, just saying 화장실? (hwajangsil, 'hwa-jang-shil') with a questioning tone works perfectly.

  • How much is it?

    얼마예요?

    Eolmayeyo?

    /uhl-ma-ye-yo/

    이거 얼마예요? (igeo eolmayeyo) is 'how much is this?' Jeju's traditional markets prefer cash; larger shops and cafés take foreign cards without any trouble.

  • It's delicious

    맛있어요

    Masisseoyo

    /ma-shi-ssuh-yo/

    Present tense, so say it while eating — ideally to the cook. There is no exact Korean equivalent of gochisōsama; afterwards you say 잘 먹었습니다 (jal meogeotseumnida, 'jal muh-guh-sseum-ni-da'), 'I ate well'.

  • Please give me this one

    이거 주세요

    Igeo juseyo

    /i-guh ju-se-yo/

    Point and say it — the single most useful sentence pattern in Korean. 주세요 attaches to any noun: 물 주세요 (mul juseyo) for water, 계산서 주세요 for the bill.

  • Goodbye

    안녕히 계세요

    Annyeonghi gyeseyo

    /an-nyong-hi ge-se-yo/

    Use this one when YOU are the one leaving — it means 'stay well'. If the other person is the one departing, it is 안녕히 가세요 (annyeonghi gaseyo, 'go well'). Mixing them up is the classic learner's error. Leaving a shop, 수고하세요 (sugohaseyo) is a warm alternative that acknowledges the staff's hard work.

If the speaker button sounds wrong

The audio uses whatever voices your device already has. Windows and macOS both ship Japanese voices, but they are not always installed by default — if a phrase comes out with an English accent, add the Japanese language pack in your system settings and it will sound right. The button’s tooltip will tell you if no Japanese voice was found.

84 words you will meet

Everything worth being able to name

Not vocabulary to memorise — just the words that will be written on the things in front of you, so that a rope is a shimenawa and a gate is a ryūgū-mon and you know why.

Showing all 84 words.

リムジンバスRimujin basu
"Limousine bus" — the orange airport coach, famous more for legroom than luxury
Narita Airport Terminal 1
いらっしゃいませIrasshaimase
"Welcome, come in" — called out to every customer crossing a shop threshold
Narita Airport Terminal 1
お疲れさまですOtsukaresama desu
"You must be tired" — the all-purpose acknowledgement of someone's effort
Narita Airport Terminal 1
不動明王Fudō Myō-ō
The Immovable Wisdom King, flame-wreathed; the deity of nearby Narita-san
Narita Airport Terminal 1
みなとみらいMinato Mirai
"Harbour of the future" — the glass skyline across the water from your window
Hyatt Regency Yokohama
山下公園Yamashita-kōen
The seafront park below the hotel, opened in 1930 on earthquake rubble
Hyatt Regency Yokohama
氷川丸Hikawa Maru
1930 NYK liner moored permanently at the park, now a museum ship
Hyatt Regency Yokohama
関内Kannai
"Inside the barrier" — old name for Yokohama's foreign settlement quarter
Hyatt Regency Yokohama
江島神社Enoshima-jinja
One shrine in three halls: Hetsunomiya, Nakatsunomiya and Okutsunomiya
Enoshima Island
龍恋の鐘Ryūren no Kane
"Bell of the dragon's love", hung on Lovers' Hill in 1996
Enoshima Island
弁財天Benzaiten
Goddess of water, music, eloquence and wealth; Enoshima is her island
Enoshima Island
龍宮Wadatsumi-no-miya
"Dragon palace" — the sea-dragon hall raised above the caves in 1993
Enoshima Island
岩屋Iwaya
Rock grotto; a sea cave used as a place of worship
Enoshima Iwaya Sea Caves
役行者En no Gyōja
"The ascetic En" — 7th-century mountain mystic, founder of Shugendō
Enoshima Iwaya Sea Caves
弘法大師Kōbō Daishi
Posthumous name of Kūkai, founder of Shingon Buddhism
Enoshima Iwaya Sea Caves
龍神Ryūjin
The dragon god of the sea, master of the tides
Enoshima Iwaya Sea Caves
関帝廟Kanteibyō
"Temple of Emperor Guan" — Chinatown's central place of worship
Yokohama Chinatown
朝陽門Chōyōmon
The blue east gate, guarded by Seiryū, the Azure Dragon of spring
Yokohama Chinatown
人相Ninsō
Face-reading; divination from the features and the bone beneath
Yokohama Chinatown
占いUranai
Fortune-telling; an uranai-kan 占い館 is a fortune-telling hall
Yokohama Chinatown
大さん橋Ōsanbashi
"The great pier" — Yokohama's international passenger terminal, rebuilt 2002
Ōsanbashi Pier
くじらのせなかKujira no senaka
"The whale's back" — the rooftop deck, open to anyone, 24 hours a day
Ōsanbashi Pier
綿津見Watatsumi
The sea-dragon god whose palace lies beneath the water you are sailing over
Ōsanbashi Pier
蛍の光Hotaru no hikari
"Light of the fireflies" — the Japanese farewell song, played at castoff
Ōsanbashi Pier
夫婦岩Meoto Iwa
"Wedded Rocks" — literally the husband-and-wife rocks
Futami Okitama Shrine
注連縄shimenawa
Sacred rice-straw rope marking the boundary of holy ground
Futami Okitama Shrine
かえるみくじkaeru-mikuji
Fortune slip drawn from a frog's mouth, unique to this shrine
Futami Okitama Shrine
浜参宮hamasangu
Seaside purification undertaken before visiting the Ise Grand Shrine
Futami Okitama Shrine
龍宮城Ryūgū-jō
The dragon king's palace beneath the sea
Ryugusha
綿津見大神Watatsumi Ōkami
Great kami of the sea, guardian of everyone who sails
Ryugusha
龍神Ryūjin
The dragon god of the sea, master of the tides
Ryugusha
郷中施Gochūse
"Aid within the village" — the shrine's tsunami memorial rite
Ryugusha
桂浜Katsurahama
"Katsura-tree beach" — for the tree said to grow on the moon
Katsurahama Beach
月見tsukimi
Moon-viewing; a seasonal ritual of watching the moon rise
Katsurahama Beach
五色の小石goshiki no koishi
The beach's celebrated five-coloured pebbles
Katsurahama Beach
龍王岬Ryūō-misaki
Dragon King Cape, the headland closing the beach's far end
Katsurahama Beach
大綿津見神Ōwatatsumi-no-kami
The great kami of the sea, ruler of all its creatures
Watatsumi Shrine
龍王宮Ryūō-gū
"Dragon King Palace" — the shrine's popular name
Watatsumi Shrine
おみくじomikuji
Fortune drawn by lot; bad ones are tied off and left behind
Watatsumi Shrine
満珠manju
The tide-flowing jewel kept in the dragon's palace
Watatsumi Shrine
龍宮城Ryūgū-jō
The dragon king's palace beneath the sea, where Antoku is said to have gone
The Kanmon Straits
平家蟹heikegani
"Heike crab" — its shell ridges read as a drowned samurai's face
The Kanmon Straits
壇ノ浦Dan-no-ura
The strait's eastern shore; site of the 1185 sea battle
The Kanmon Straits
関門海峡Kanmon Kaikyō
Strait named from Shimonoseki (kan) and Moji (mon)
The Kanmon Straits
해녀 (海女)haenyeo
"sea women" — Jeju's breath-hold divers, many of them grandmothers
Jungmun Saekdal Beach
숨비소리sumbisori
the whistling exhalation a diver makes the instant she surfaces
Jungmun Saekdal Beach
진모살jinmosal
Jeju's word for the beach's four-coloured volcanic sand
Jungmun Saekdal Beach
용두암 (龍頭岩)Yongduam
Dragon Head Rock, on Jeju's north coast at Jeju City
Jungmun Saekdal Beach
선녀 (仙女)seonnyeo
heavenly maiden or nymph, a stock figure of Korean myth
Cheonjeyeon Waterfall
천제연 (天帝淵)Cheonjeyeon
"Pond of the Emperor of Heaven" — the deep pool below the first fall
Cheonjeyeon Waterfall
선임교 (仙臨橋)Seonimgyo
the arched bridge over the gorge, carved with all seven nymphs
Cheonjeyeon Waterfall
용왕 (龍王)Yongwang
the Dragon King, who rules the sea and delivers the rain
Cheonjeyeon Waterfall
龍宮門Ryūgūmon
Dragon Palace Gate — the temple's red two-storey entrance
Sofuku-ji and the Dragon Palace Gate
龍宮城Ryūgū-jō
the undersea palace of the Dragon King, seat of Ryūjin
Sofuku-ji and the Dragon Palace Gate
黄檗Ōbaku
the Chinese-founded third school of Japanese Zen, based at Manpuku-ji
Sofuku-ji and the Dragon Palace Gate
超然Chōnen
the Fuzhou monk invited to found the temple in 1629 (Ch. Chaoran)
Sofuku-ji and the Dragon Palace Gate
出島Dejima
the fan-shaped artificial island that was Japan's only window on the West
Glover Garden
蘭学rangaku
"Dutch learning" — Western science studied through the Dejima traders
Glover Garden
蝶々さんChōchō-san
"Butterfly" — Cio-Cio-San, heroine of Puccini's Nagasaki opera
Glover Garden
龍踊ja-odori
Nagasaki's Chinese-derived dragon dance, performed at Kunchi
Glover Garden
温泉onsen
hot spring — legally, water rising from the ground at 25°C+, or cold but mineral-rich
The Izumi Japanese Bath
銭湯sentō
public bath of ordinary heated water; the neighbourhood kind
The Izumi Japanese Bath
hinoki
Japanese cypress — the fragrant, rot-resistant timber of the finest tubs
The Izumi Japanese Bath
かけ湯kakeyu
the rinse you pour over yourself before entering the water
The Izumi Japanese Bath
白粉oshiroi
the white face powder that is the base of the entire transformation
Geisha
katsura
the lacquered, pinned wig worn by geisha (maiko style their own hair)
Geisha
引きずりhikizuri
trailing kimono with a padded hem, dragged behind on the floor indoors
Geisha
yoroi
samurai armour of small scales laced with silk; kabuto 兜 is the helmet
Geisha
金龍山Kinryū-zan
"Golden Dragon Mountain" — Senso-ji's mountain name, lit up below you
Asakusa View Hotel
隅田川Sumidagawa
the river beneath the window; the temple's founding river
Asakusa View Hotel
浴衣yukata
unlined cotton robe supplied in the room and worn around the hotel
Asakusa View Hotel
武蔵Musashi
the old province whose name gives the Skytree its exact height
Asakusa View Hotel
雷門Kaminarimon
Thunder Gate; formally Fūraijinmon, Gate of the Wind and Thunder Gods
Kaminarimon
提灯chōchin
collapsible paper lantern built on a spiralling bamboo frame
Kaminarimon
雷神Raijin
the thunder god, encircled by the ring of drums he beats
Kaminarimon
風神Fūjin
the wind god, carrying every wind in a bag across his shoulders
Kaminarimon
手水舎temizuya
the roofed basin for rinsing hands and mouth before worship
Senso-ji's Dragon Fountain
柄杓hishaku
the long-handled ladle used for the purification
Senso-ji's Dragon Fountain
沙竭羅龍王Sakara Ryūō
Sāgara, dragon king of the ocean, cast in bronze above the basin
Senso-ji's Dragon Fountain
八大龍王hachidai ryūō
the Eight Great Dragon Kings, protectors of the Lotus Sutra
Senso-ji's Dragon Fountain
金龍山Kinryū-zan
"Golden Dragon Mountain" — the temple's mountain name, from the legend
Senso-ji Main Hall
秘仏hibutsu
"hidden buddha" — an image kept permanently out of sight
Senso-ji Main Hall
金龍の舞Kinryū-no-mai
the Golden Dragon Dance, created in 1958 for the hall's rebuilding
Senso-ji Main Hall
おみくじomikuji
paper fortune drawn by numbered lot at a shrine or temple
Senso-ji Main Hall