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Gold, Silver, Tea and Noh: The Culture That Defines 'Japanese Taste'

The Golden Pavilion shining beside its pond while a visitor tries to take a selfie without the sun in the lens
Kinkaku-ji: the pavilion covered in gold leaf, beloved by photographers.

Quick version

The Ashikaga shoguns were not great at keeping the country orderly, but they were wonderful patrons of the arts. Much of what we call “traditional Japanese culture” comes from the Muromachi period.

Kinkaku-ji and the Kitayama culture

Shogun Ashikaga Yoshimitsu (1358–1408) built a luxurious retreat in northern Kyoto, with a three-storey pavilion covered in gold leaf: Kinkaku-ji, the Golden Pavilion. The courtly, brilliant style of his age is called Kitayama culture. Yoshimitsu also supported Noh and traded with Ming China.

Noh theatre

Kan’ami and his son Zeami shaped Noh into a refined, symbolic art, with masked actors, slow movement and haunting music. Zeami also wrote essays on acting. Short comic plays called kyōgen are performed between Noh plays.

Ginkaku-ji and the Higashiyama culture

Eighth shogun Ashikaga Yoshimasa built Ginkaku-ji, the Silver Pavilion, in the 1480s, in the hills of eastern Kyoto. It was never covered in silver, but the name stuck. Around it grew Higashiyama culture, a quieter taste for simplicity and subtle beauty (wabi-sabi). Its features became classics:

Zen gardens

Zen temples built dry-landscape gardens (karesansui), which use raked gravel and stones to suggest oceans and mountains. The one at Ryōan-ji has fifteen stones in a gravel rectangle, and from any angle you can see only fourteen at once.

See it today

Festival connection

Kyoto’s Gozan Okuribi lights five giant bonfires on the surrounding mountains every August, and the Gion Matsuri was revived in this era after the Ōnin War.

A Noh actor in a mask and rich robes frozen in a dramatic pose
Noh: slow, symbolic, and weirdly gripping once you get into it.