In the last week of October 2025, I travelled to Siem Reap for a 3-night, 5-day trip.
This time of year marks the transition from the rainy season to the dry season — I was slightly worried about weather, but fortunately there was no rain and the climate was pleasantly comfortable. It was truly an ideal season for travel.

Note: This post is not directly about calligraphy. Please enjoy it as a travel diary.

Basic Information on Cambodia (Siem Reap)

🙋🏽What “Khmer” means

The term Khmer refers to the ethnic majority in present-day Cambodia. It also denotes the Khmer language (Cambodia’s official language), and more broadly, the culture and history of Cambodia.

💰Money matters

The local currency is the riel: 1 U.S. dollar ≈ 4,000 riel. That said, in tourist areas, nearly all payments are made in U.S. dollars.

Two bottles of water and a coconut juice (≈1 liter) both cost about 1 U.S. dollar. A Khmer-style massage option ran about U.S. $20.

📝As for souvenirs or convenience-store purchases, prices gave the impression of being roughly similar to those in Japan.

💱Currency exchange & payment methods

Because this was a package tour, the major travel costs were prepaid.

At Narita Airport I exchanged ¥20,000 for US$128. At return we had US$77 remaining — meaning the two of us spent about US$51 on-the-ground cash.

In Cambodia you can use credit cards in the airport or in some stores, but for drinks at restaurants or items at convenience stores I used U.S. dollar bills. All told, our cash expenditure for two was so low that even ¥10,000 would have covered it with change to spare.

🌡️Climate & what to wear

October falls near the end of the rainy season.
In late October the average high is around 30 °C and the low around 24 °C. The daytime feels like summer in Japan: wear summer clothes. But during early morning hours a lightweight outer layer is comfortable.

👄A few Khmer-language phrases

• Hello: Suos dei
• Thank you: Orkun

📝Pronunciation is truly difficult. When I tried my own pronunciation with a translation app, it sometimes came out meaning the opposite of what I intended. That said, for communication with locals the two words taught by our guide were perfectly sufficient. Plus, English worked surprisingly well for general interactions.

Day 1: From Narita to Siem Reap

We departed Narita Airport just after 9 a.m., via transit in Ho Chi Minh City. A severe thunderstorm delayed our connecting flight by about one and a half hours, so we arrived in Siem Reap shortly after 8 p.m. (Cambodia is 2 hours behind Japan).

At Siem Reap Airport our guide Mr. S greeted us with a warm smile. On the drive to our hotel he told us about the region in a gentle and humorous tone — and we quickly felt at ease.

Day 2: Angkor Thom & Tonle Sap Lake — Encountering the Smiles of the Khmer

We began our day with the purchase of the 3-day “Angkor Passport” (photo-ID required) enabling access to the ruins.

Angkor Thom

“Angkor” means “capital city,” and “Thom” means “large.”
Built about 800 years ago during the zenith of the Khmer Empire under King Jayavarman VII, Angkor Thom is a fortress-city with a square wall measuring approximately 3 km per side. Within, the central temple is Bayon Temple, along with many smaller ruins.

We began with a gondola ride around the outer moat, dotted with pink water-lilies. We saw local wedding parties and families taking photos at the water-edge.

From the gondola we approached the South Gate. A bridge leading in has 54 statues of gods on the left and 54 of demons on the right — each figure holding the mythical serpent-god naga in a tug-of-war. Each face is distinct and full of expression.

The South Gate itself is designed so vehicles can pass underneath.

Bayon Temple

The centrepiece of Angkor Thom, Bayon is famed for its giant four-faced smiling stone towers. Built in the late 12th century as a Buddhist temple.

The first gallery’s bas-reliefs depict everyday life: Khmer soldiers marching against Champa (in present-day Vietnam), scenes of farming, cooking, births, games such as cock-fighting, and even crocodiles devouring the defeated. Unique for a temple, it focuses not just on myth but on common people’s lives.

Because the central sanctuary was under restoration, we could only explore up to the first gallery and missed the famed “Khmer smile” face. A return visit is planned once work is complete.

Baphuon (“Hidden Child”)

Built mid-11th century, this Hindu temple features a 200-metre elevated walkway (an “air bridge”) reportedly built because a queen hid her child from the revenge-seeking Siamese king. The walkway is sometimes called the “rainbow bridge” linking earth and heaven.

Phimeanakas (“Palace of the Celestial Mansion”)

A late-10th century Hindu temple. According to legend, the king met a heavenly serpent-goddess each night here.

Terrace of the Leper King & Terrace of the Elephants

The Terrace of the Leper King is said to be the place where a king afflicted with leprosy was isolated during his lifetime and later enshrined after his death. Behind the statue of the Leper King—around the spot where the two of us were standing—once stood his cremation site.
Despite being ravaged by illness, the statue’s faint, enduring smile seemed to convey both the king’s benevolence and the deep affection his people held for him.

The terrace, about six meters high, is surrounded by a maze-like passageway, its walls covered with countless intricate reliefs.

The Terrace of the Elephants was where royalty inspected troops and held victory ceremonies after arriving through the Victory Gate.

Ta Prohm — “Like Laputa”

This 12th-century Buddhist monastery was built by Jayavarman VII for his mother. Massive tree-roots have intertwined with the stone ruins, giving a powerful sense of nature reclaiming human architecture — reminiscent of the floating island in the film Laputa.
We felt awe at how humanity and nature overlapped in this silent but living place.

Tonle Sap Lake Cruise

After the morning of ruins we relaxed by the huge lake. We saw floating-villages and, most memorably, a 10-year-old boy who helped guide the boat and showed us a young crocodile, even let us shake its back! At the end, when I made eye-contact and said “Orkun,” his shining smile said everything.

That evening, we enjoyed a Khmer-style buffet and watched a court-dance performance of the celestial Apsara — graceful, silent, unforgettable.

Day 3: Angkor Wat — Flowing Through Time

Sunrise at Angkor Wat

We set out at 5 a.m. to West Causeway of Angkor Wat. As dawn broke, the massive temple emerged from the mist and reflected on the water — a moment of profound stillness shared with tourists from around the world.

Angkor National Museum

The museum offers audio tours and exhibits, including small- to medium-sized silver and brass Buddha statues, many being cast works (rather than stone). A guide joked that some of the thick-lipped Khmer statues resembled the Japanese actress Kyō Machiko.

Many exhibits are displayed without glass cases, allowing you to feel the texture of the objects close-up.

The diorama of Angkor Wat is excellent — but its lighting was not continuously on, hence the slight deduction.

Market & Shopping

Old Market

To understand how the descendants of those who built the Angkor temples live today is to glimpse the living heritage of Cambodia.

At the bustling Old Market locals shop among stacks of fruit, clothes, dried fish and meat. We also saw luxury cars like Lexus and Mercedes mixing with tuk-tuks and motorcycles—a bizarre contrast. (Our guide chuckled, “Only officials who receive bribes ride those.”)

For souvenirs we visited “Cambodia Tea Time,” a shop run by a Japanese owner, selling the local snack nom tom moon. We also bought cashews and dried mango coated in bitter chocolate—delicious.

Khmer Lunch

We enjoyed a light lunch: green papaya salad, non-spicy grilled chicken, sweet-and-sour pork served in crisp rice-paper cups. It was unfamiliar yet somehow reminiscent, light and easy to eat.

Angkor Wat Revisited

“Angkor” is “capital,” “Wat” means “temple.” Built by King Suryavarman II in the early 12th century as a Hindu temple, it features three galleries.

First Gallery (outermost)

contains massive bas-reliefs of Hindu epics like the Mahabharata and Ramayana.

Cruciform Corridor

A Japanese visitor in 1632 mistakenly believed it to be the “Gion Shōja” (a Buddhist hall in Japan).

There’s also a spot where a deep “bo-wan” echo resounds when you tap your chest — they say a clear sound means you’re in good health.

Second Gallery

outer walls show beautifully dressed female deities (devatas). Interestingly, both male and female figures here are topless—unusual and striking.

Third Gallery

contains the highest central sanctuary (65 m). Inside there is a Buddha statue surrounded by devatas; incense and offerings are still made today. A golden disc was discovered here during excavation — a view once reserved for kings is now accessible to everyone.

At dusk we returned to the outer terrace and watched the sun set behind the towers — another unforgettable moment. Morning light, evening glow, nature and man-made archaeology: the richness of it all filled us with gratitude.

We ended the day with French cuisine and a Khmer-style massage.

Day 4: Meeting the “Mona Lisa of the East”

We set off at 8 a.m., bused about 40–50 minutes northeast from Angkor Wat.

On the rural road we passed white cows, water-buffalo on river banks, free-roaming dogs and chickens—a peaceful scene of countryside life.

The unpaved, mud-caked asphalt felt like a rodeo ride as our driver cautiously navigated the bumps. Rain threatened briefly, but stopped as we reached the site. These ruins were almost empty of tourists; we had them nearly to ourselves.

Banteay Srei — Facing the “Mona Lisa of the East”

“Banteay” means “fortress,” “Srei” means “woman.”
This 9th-century Hindu temple, built by a high-ranking official, is remarkably small yet breathtakingly detailed. The rust-red stone glows after rain, creating a vivid impression. At the entrance stands the famous “Mona Lisa of the East” — a devata figure of delicate beauty.

Because ropes keep visitors at a distance from the carvings, bringing binoculars is highly recommended.

Roluos Group (earlier ruins)

Located about 20 km southeast of central Angkor, these 9th-century ruins preceded Angkor Wat.

Lolei

A brick temple considered a forerunner to Angkor Wat.

Preah Ko (“Sacred Bull”)

Here three statues of Nandi bulls stand. Built by King Indravarman I to honour his ancestors.

Walking between the small shrines I felt an inexplicable chill—though not superstitious, I sensed some presence. A cremation structure lies beside the complex.

Bakong

The largest of the group, a pyramid-style temple later restored by Suryavarman II. Elephant statues, a framed view of the central sanctuary, and a bas-relief of six asuras battling gods are among the highlights.

On the Way Home

In the late afternoon we headed to Siem Reap Airport. In Ho Chi Minh City we had another bowl of pho before boarding the midnight flight. We arrived at Narita at 8:30 a.m. the next morning. My brand-new suitcase had a small hole in a caster — a small souvenir perhaps of an adventurous trip.

✈ Travelling Reflections

The Angkor ruins were not just ancient stone monuments but places where prayer and time overlapped.

Ruins standing beside nature, gentle smiles of the Khmer people, a sense of Khmer aesthetic.
What stayed with me was their calm strength — and above all, the warmth and smiles of the people.

Similarities between the Angkor ruins and the Maya ruins

From early on I had wondered in my guide-book: the Angkor ruins and the Maya sites bear striking resemblances. Carvings of human figures, side-profiles of faces, even architectural layouts are very similar. The pyramid-style temple of Phimeanakas resembles the Maya site of Chichén Itzá. Interestingly, the construction dates are also close: the early Bakong from the late 9th century, and Chichén Itzá’s great pyramid likewise from the 9th century. Though they lie across the Pacific, in similar latitudes, the emergence of similar styles is fascinating.

Differences in sensibility between Japanese culture and Khmer culture

Japanese culture treasures emptiness and space, while Khmer culture seems to fear emptiness. This contrast was endlessly fascinating. At every site we visited, carvings filled every surface—stories and mythologies engraved in every inch of stone. In contrast, Japanese aesthetics often value “what is left un-made” or silence as a space for the imagination.

A people who carve into stone, and a people who leave space on paper: contemplating the dense Khmer carvings reminded me anew of the Japanese aesthetic of ma (the beauty of the interval).

Having reached a significant milestone in life, I’m finally setting out on a long-cherished journey to Dunhuang—a place I’ve always dreamed of visiting at least once in my lifetime.

As I mentioned in my article on the Chinese poem “Grapevine Wine,” I’ve had a deep fascination with the Western Regions since my youth. In middle school, I even declared, “Someday, I want to perish in the Taklamakan Desert.”

Liangzhou Poem — Calligraphy on a Tang-Era Verse

#206 葡萄美酒夜光杯Size：Postcard; about 15×10 c...

gallery-mu.totknow.com

To fulfill this dream, I’m heading to China. I’ll document this journey in two parts on my blog: the “Preparation Phase” and the “Reflection Phase.”

1. Acquiring the “Globe-Trotter Travel Guide

I prefer having a physical travel guidebook at hand. For this trip, I sought out the “Globe-Trotter Travel Guide: Xi’an, Dunhuang, Ürümqi, the Silk Road, and Northwestern China.”

However, this proved more challenging than expected. Published in 2019, the guide is now out of print. Online searches yielded only used copies with varying conditions and prices. I ended up visiting multiple physical bookstores.

Eventually, I found a copy in a sweltering town while attending an exhibition by a respected calligraphy teacher. It felt like fate guiding me, and I couldn’t help but pump my fist in triumph upon finding it.

2. Mastering Chinese Phrases

Even with advanced translation software, it’s essential to learn basic local phrases. I used NHK’s “Gogakuru” as a reference.

Greetings:

• Thank you! 谢谢！(Xièxie!)
• Hello 你好！(Nǐ hǎo!)
• Excuse me. 不好意思。(Bù hǎoyìsi.)
• I’m sorry. 对不起。(Duìbuqǐ.)
• It’s okay. 没关系。(Méi guānxi.)
• You’re welcome. 不客气。(Bú kèqi.)
• I’m Kato. 我是加藤。(Wǒ shì Jiāténg.)

Responses:

• Yes. / No. 对。/ 不对。(Duì. / Bù duì.)
• There is. / There isn’t. 有。/ 没有。(Yǒu. / Méiyǒu.)
• Understood. 明白了。(Míng bái le.)
• Indeed! 可不是吗！(Kě bú shì ma!)
• Amazing! 真了不起！(Zhēn liǎo bu qǐ!)
• So-so. 还可以。(Hái kěyǐ.)
• Just looking. 我随便看看。(Wǒ suíbiàn kànkan.)

Questions:

• Excuse me, where is the restroom? 请问，洗手间在哪儿？(Qǐngwèn, xǐshǒujiān zài nǎr?)
• What is this? 这是什么？(Zhè shì shénme?)
• What should I do? 怎么办？(Zěnme bàn?)
• How do I get there? 怎么走？(Zěnme zǒu?)
• How do you write this? 怎么写？(Zěnme xiě?)
• What’s wrong? 怎么了？(Zěnme le?)

Requests:

• The bill, please. 买单。(Mǎidān.)
• One of this, please. 要一个这个。(Yào yí ge zhège.)
• Could you speak more slowly? 请慢点儿说，好吗？(Qǐng màn diǎnr shuō, hǎo ma?)
• Please wait a moment. 请等一下。(Qǐng děng yíxià.)
• Sorry, please wait another 10 minutes. 不好意思，再等十分钟。(Bù hǎoyìsi, zài děng shí fēnzhōng.)
• Let me think about it. 让我好好儿想想。(Ràng wǒ hǎohāor xiǎngxiang.)

3. Rewatching the Film “Dunhuang”

The film “Dunhuang,” released in 1988, is a Japanese-Chinese co-production directed by Junya Satō and starring Kōichi Satō. It’s based on Yasushi Inoue’s novel “Dunhuang.”

Set in the 11th century, after the Tang Dynasty and during the Five Dynasties and Ten Kingdoms period, the story follows Zhao Xingde, a young scholar caught in the turmoil of war in the Western Regions, particularly in Dunhuang—a key point on the Silk Road. The film poignantly portrays people’s deep reverence for culture.

For instance, there’s a scene where the Western Xia people proudly explain their unique script, derived from Chinese characters. Though no longer in use, their desire to record their language in their own script is deeply moving.

Later, Zhao hides Buddhist scriptures and murals deep within caves—a depiction based on historical events. In the late 19th century, a vast collection of documents known as the “Dunhuang Manuscripts” was discovered in the Mogao Caves. The film thoughtfully explores why these were hidden and preserved.

The passion of those who risked their lives to protect culture and faith is overwhelming. Thanks to their efforts, we can now witness the Dunhuang Manuscripts. The film’s stunning desert visuals and its quiet narrative about knowledge left a lasting impression. It reminded me that culture isn’t just passed down—it’s created and safeguarded by people’s hands, underscoring our responsibility in the present.

4. Revisiting “Hiromichi Sekiguchi’s Grand Chinese Railway Journey: The Longest One-Way Route of 36,000 km”

This travel program aired on NHK in 2007. Sekiguchi’s unpretentious personality, rich sensibility, interactions with locals, and diverse landscapes made it captivating—I recorded and rewatched it multiple times.

This time, I revisited the program and its accompanying book, filled with Sekiguchi’s insightful illustrations.

Notably, in the 43rd episode, Sekiguchi travels from Wuwei to Zhangye and then to Dunhuang in Gansu Province—a route I will also take.

While I may not have the opportunity to converse leisurely with locals as he did, the thought of seeing the arid landscapes, endless tracks, and bustling stations he experienced fills me with anticipation.

Sekiguchi’s reflections on China’s vastness and the warmth of its people offer valuable insights for my journey. Even within a limited timeframe, I hope to absorb and bring back something meaningful. With these thoughts, I concluded my “preparation” through the screen.

5. Copying Chu Suiliang’s “Preface to the Sacred Teaching at the Wild Goose Pagoda”

Chu Suiliang was a politician and calligrapher during the early Tang Dynasty. I plan to visit the Giant Wild Goose Pagoda, home to his renowned stele, the “Preface to the Sacred Teaching.”

Coincidentally, a high school student I’m teaching is currently working on this piece. Revisiting it through copying, I found myself captivated by its charm.

Chu’s calligraphy isn’t just beautiful; it exudes strength and elegance. There’s softness within discipline and dynamism within tranquility. It’s meticulously detailed yet warm—a true ideal in calligraphy.

Each stroke feels like touching the air of the Tang era. Tracing this work by hand before visiting Xi’an (formerly Chang’an) feels like a luxurious preparation.

Copying isn’t just about acquiring knowledge; it’s a gateway to experiencing the journey physically. It provided a serene and enriching time to mentally prepare for the Western Regions.

Preparing for the Western Regions’ Winds – Various Desert Travel Preparations

Travel Preparation 1: Food Considerations

I have a mild wheat allergy. Since this is a tour, meals may include noodles. While alternative menus are available, I prepared my own food just in case.

A thoughtful friend sent me a soup set, alleviating concerns about vegetable intake.

Other items I packed:

• Egg porridge – a convenient protein source
• SOYJOY – a wheat-free nutritional bar
• Freeze-dried miso soup – a comforting taste of Japan

Travel Preparation 2: Adding a Chin Strap to My Hat

In the sun-drenched desert, a hat is essential. However, strong winds could blow it away, so I customized it with a chin strap.

I sewed tape onto the hat to attach the clip, sealing the tape ends with a lighter to prevent fraying. I ensured the strap would sit just in front of my ears.

The chin strap, equipped with a UV-sensitive adjuster, was a handy find at Daiso. It’s surprisingly effective, even indicating UV intensity.

Now, even when cycling, I can rest assured my hat will stay put.

Embarking on the Journey – After Completing All Preparations

Having acquired the “Globe-Trotter Travel Guide,” practiced Chinese phrases, rewatched the film “Dunhuang,” revisited Sekiguchi’s railway journey, and copied Chu Suiliang’s calligraphy, I’ve completed my preparations.

From the food I packed to the modifications on my hat and the new raincoat, every detail has been considered.

Now, it’s time to set off on this long-awaited journey to Dunhuang. I look forward to sharing my experiences in the upcoming “Reflection Phase” of this blog series.

再見！

Decorate a work

When a artwork is displayed on wall etc., it is always made with frame or hanging scroll.
This process is called “dressing”.

A work improve a whole a lot by good dressing.
Especially in case of “kana-sho” work, it has are a lot of elements such as color and pattern of “ryo-shi” (special Japanese paper) and color of “sumi” (cake ink). Therefore harmonious dressing is requiered.

i usually request a dressing to professional picture framer. High sense picture framer makes my work beyond my real strength.
But work image in this site is created by image processing due to quick, easily prepared.

Kana-sho is Japanese original shodo culture

Although two thousand yen bills are no longer in circulation now, have you ever seen it?
A “kana-sho“, a part of “Genji Monogatari Emaki“, was printed in it.

“Kana-sho” is original shodo culture in Japan.
Japanese people in 1,000 – 1,300 years ago arranged “kanji” from ancient Chaina to “hiragana” in conformity to how to use Japanese. (Japanese people is good at arrangement in our own way since long ago..) “Kana-sho” is expressive style of hiragana, and is used to write down wakas and stories.

Books writed in 11th and 12th century is saied as “kohitsu“, is very grace and aristocratic. “Genji Monogatari Emaki” as mentioned in the opening sentence was one of the “kohitsu” and also created in this period.

Althogh there are greate art and culture, almost all Japanee people cannnot read “kana-sho” in present. It may be due to a dilemma that they cannot read “kana-sho” despite characters, there are few Japanese who go to a museum to appreciate the art.

It is all right that you just watch a work of not only “kana-sho” but also shodo, and feel something from it like a picture. It is good to think like or dislike it.

If you have wanted to know what things are writed during appreciating, you would take a forward step in this world. If you can read it a little, you must get hooked on this wonderful world.

i introduce my own “kana-sho” and other works in this site.