Occurrence of Attributes in Original Text

The text related to the cultural heritage 'Fujisan, sacred place and source of artistic inspiration' has mentioned 'Mountain' in the following places:
Occurrence Sentence Text Source
Mount Fuji (xe5xafx8cxe5xa3xabxe5xb1xb1, Fujisan, Japanese:xc2xa0[xc9xb8xc9xafxeax9cx9c(d)xcax91isaxc9xb4] (listen)), located on the island of Honshxc5xab, is the highest mountain in Japan, standing 3,776.24xc2xa0m (12,389.2xc2xa0ft).
[4][5] The mountain is located about 100xc2xa0km (62xc2xa0mi) southwest of Tokyo and is visible from there on clear days.
These 25 locations include the mountain and the Shinto shrine, Fujisan Hongxc5xab Sengen Taisha, as well as the Buddhist Taisekiji Head Temple founded in 1290, later depicted by Japanese ukiyo-e artist Katsushika Hokusai.
However, the name predates kanji, and these characters are ateji, meaning that they were selected because their pronunciations match the syllables of the name but do not carry a meaning related to the mountain.
A text of the 9thxc2xa0century, Tale of the Bamboo Cutter, says that the name came from "immortal" (xe4xb8x8dxe6xadxbb, fushi, fuji) and also from the image of abundant (xe5xafx8c, fu) soldiers (xe5xa3xab, shi, ji)[8] ascending the slopes of the mountain.
Hirata Atsutane, a Japanese classical scholar in the Edo period, speculated that the name is from a word meaning, "a mountain standing up shapely as an ear (xe7xa9x82, ho) of a rice plant".
In English, the mountain is known as Mount Fuji.
Japanese speakers refer to the mountain as "Fuji-san".
This "san" is not the honorific suffix used with people's names, such as Watanabe-san, but the Sino-Japanese reading of the character yama (xe5xb1xb1, "mountain") used in Sino-Japanese compounds.
Other Japanese names for Fuji Mount, which have become obsolete or poetic, include Fuji-no-Yama (xe3x81xb5xe3x81x98xe3x81xaexe5xb1xb1, "the Mountain of Fuji"), Fuji-no-Takane (xe3x81xb5xe3x81x98xe3x81xaexe9xabx98xe5xb6xba, "the High Peak of Fuji"), Fuyxc5x8d-hxc5x8d (xe8x8ax99xe8x93x89xe5xb3xb0, "the Lotus Peak"), and Fugaku (xe5xafx8cxe5xb2xb3xefxbcx8fxe5xafx8cxe5xb6xbd), created by combining the first character of xe5xafx8cxe5xa3xab, Fuji, and xe5xb2xb3, mountain.
Mount Fuji is an attractive volcanic cone and a frequent subject of Japanese art especially after 1600, when Edo (now Tokyo) became the capital and people saw the mountain while traveling on the Txc5x8dkaidxc5x8d road.
According to the historian H. Byron Earhart, "in medieval times it eventually came to be seen by Japanese as the xe2x80x9cnumber onexe2x80x9d mountain of the known world of the three countries of India, China, and Japan".
[15] The mountain is mentioned in Japanese literature throughout the ages and is the subject of many poems.
Ancient samurai used the base of the mountain as a remote training area, near the present-day town of Gotemba.
The first ascent by a foreigner was by Sir Rutherford Alcock in September 1860, who ascended the mountain in 8 hours and descended in 3 hours.
[17]:427 Alcock's brief narrative in The Capital of the Tycoon was the first widely disseminated description of the mountain in the West.
All 113 passengers and 11 crew members died in the disaster, which was attributed to the extreme clear-air turbulence caused by lee waves downwind of the mountain.
Today, Mount Fuji is an international destination for tourism and mountain climbing.
[32] They, and nearby Lake Ashi, provide views of the mountain.
The mountain is part of the Fuji-Hakone-Izu National Park.
The first phase, called Sen-komitake, is composed of an andesite core recently discovered deep within the mountain.
The forest at the northwest base of the mountain is named Aokigahara.
[55] Most Japanese climb the mountain at night in order to be in a position at or near the summit when the sun rises.
There are four additional routes from the foot of the mountain: Shojiko, Yoshida, Suyama, and Murayama routes.
Even though it has only the second-highest fifth stations, the Yoshida route is the most-popular route because of its large parking area and many large mountain huts where a climber can rest or stay.
These tractor routes are used to bring food and other materials to huts on the mountain.
Nevertheless, one can sometimes see people riding mountain bikes along the tractor routes down from the summit.
The four routes from the foot of the mountain offer historical sites.
These routes are gaining popularity recently and are being restored, but climbing from the foot of the mountain is still relatively uncommon.
Paragliders take off in the vicinity of the fifth station Gotemba parking lot, between Subashiri and Hxc5x8dei-zan peak on the south side of the mountain, in addition to several other locations, depending on wind direction.
In ancient times the mountain was worshipped from afar.
In the Heian period (794xe2x80x931185) volcanic activity subsided and Fuji was used as a base for Shugendxc5x8d, a syncretic religion combining mountain worship and Buddhism.
Fuji-kxc5x8d was an Edo period cult centred around the mountain founded by an ascetic named Hasegawa Kakugyxc5x8d (1541xe2x80x931646).
[59] The cult venerated the mountain as a female deity, and encouraged its members to climb it.
As a national symbol of the country, the mountain has been depicted in various art media such as paintings, woodblock prints (such as Hokusai's Thirty-six Views of Mount Fuji and 100 Views of Mount Fuji from the 1830s), poetry, music, theater, film, manga, anime, pottery[61] and even Kawaii subculture.
Mount Taranaki / Mount Egmont in New Zealand is also said to bear a resemblance to Mount Fuji, and for this reason has been used as a stand-in for the mountain in films and television.
The awe that Fujisanxe2x80x99s majestic form and intermittent volcanic activity has inspired was transformed into religious practices that linked Shintoism and Buddhism, people and nature, and symbolic death and re-birth, with worship ascents and descents to and from the summit, formalised in routes and around shrines and lodging houses at the foot of the mountain.
And the almost perfect, snow-capped conical form of Fujisan inspired artists in the early 19th century to produce images that transcended cultures, allowed the mountain to be known around the world, and had a profound influence on the development of Western art.
From ancient times, pilgrims carrying a long staff, set off from thexc2xa0 compounds of the Sengenjinja shrines at the foot of the mountain to reach the crater at its summit where it was believed that the Shinto deity, Asama no Okami resided.
There were two types of pilgrims, those who were led by mountain ascetics, and from the 17th century onwards, those in greater numbers who belonged to Fuji-ko societies that flourished in the prosperous and stable Edo period.
As pilgrimages became more popular from the 18th century onwards, organizations were established to support the pilgrimsxe2x80x99 needs and routes up the mountain were delineated, huts provided, and shrines and Buddhist facilities built.
Curious natural volcanic features at the foot of the mountain, created by lava flowing down after volcanic eruptions, came to be revered as sacred sites, while the lakes and springsxc2xa0 were used by pilgrims for cold ablutions, Mizugori, to purify their bodies prior to climbing the mountain.
Pilgrims progressed up the mountain through what they recognised as three zones; the grass area around the base, above that the forest area and beyond that the burnt or bald mountain of its summit.
The serial property consists of the top zone of the mountain, and spread out around its lower slopes shrines, lodging houses and a group of revered natural phenomena consisting of springs, a waterfall lava tree moulds and a pine tree grove on the sand beach, which together form an exceptional testimony to the religious veneration of Fujisan, and encompass enough of its majestic form to reflect the way its beauty as depicted by artists had such a profound influence on the development of Western art.
Criterion (iii): The majestic form of Fujisan as a solitary strato-volcano, coupled with its intermittent volcanic activity, has inspired a tradition of mountain worship from ancient times to the present day.
However, because of development in the lower part of the mountain, the relationship between pilgrimsxe2x80x99 routes and supporting shrines and lodging houses cannot readily be appreciated.
In terms of spiritual integrity, the pressure from very large numbers of pilgrims in two summer months, and the infrastructure that supports them in terms of huts, tractor paths to supply the huts and large barriers to protect the paths from falling stones, works against the spiritual atmosphere of the mountain.
In terms of the ability of the series as a whole to convey its spiritual and aesthetic value, currently this is limited in relation to the way individual sites project their meaning in relation to each other, and to the whole mountain.
A xe2x80x98visionxe2x80x99 for the property will be adopted by the end of 2014 that will set out approaches to address this necessary fusion and to show how the overall series can be managed in a way that draws together the relationships between the components and stresses their links with the mountain.
An overall conservation approach is needed for the upper routes and for the associated mountain huts in order to stabilize the paths, manage the erosion caused by visitors and water, and manage delivery of supplies and energy.
This is particularly crucial for the sites in the lower parts of the mountain where their relationship with the pilgrim routes is unclear.