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In 2005, Inakadate replicated ukiyo-e works(a style of Japanese woodblock printing andpainting produced between the 17th and the20th centuries) by Sharaku and Utamaro.In 2006, the Inakadate villagers reproduced FujinRaijin Zu Byobu (Wind God and Thunder God screens)originally created by the early Edo-Period artistTawaraya Sotatsu.position each of the four varieties.This year, five groups of six villageofficestaff dug 6,100 reed sticksinto the ground, then strung plastictape between them to create theareas—some large, some as small asone square meter—in which to plantthe rice varieties. Altogether, the tasktook three full, backbreaking days.Then, on 27 May 2007, 700people helped plant the rice. Dividedinto teams, they used four kindsof rice: two traditional varietiesnamed ki ine (yellow rice) andmurasaki ine (purple rice) thatgrow into yellow- and brown-leafedplants, respectively, and also moremodern beni miyako (red miyako)and tsugaru roman, an Aomorivariety with a fresh green color.Then, nature took control ofthe artwork as the seedlings grew,transforming them in varying huesinto Hokusai’s famous wave.Mr. Nakayama says that lateJuly is the best time to enjoy theart. Referring to 2007’s image, heexplains why, and in doing so offersa sense of the work’s intricacy.“In August,” he says, “the lengthsof each kind of rice are different dueto their different growth rates. Wecannot clearly see the drops falling offthe waves, as the yellow rice for thedrops is shorter than tsugaru roman.So [by August], the drops have begunto sink into the green background.”The number of visitorsflocking to Inakadate to view thepaddy-artists’ amazing, livingcreations keeps on rising.“Oh, it’s so busy,” says Mr.Nakayama. “Visitors have to waitin line for about an hour to go upthe observatory, and staff are busytalking to them. But I feel that ourefforts are being rewarded when I seeso many people enjoying the art.”At the end of September,Inakadate braces itself for anotherinflux of people. Then, as the coolbreezes of autumn bathe the land,visitors arrive to take part in theannual harvest. In 2006, around900 people from across the countryharvested about 2 tons of tsugaruroman rice, which was given to thosewho took part and to those whohelped with the spring planting.The 2008 effort, Inakadate’s16th since the custom began in1993, featured images of Daikoku(god of wealth) and Ebisu (godof fishers and merchants). Anaccompanying image of the logo ofJapan Airlines—which sponsoredthe event in 2008—also provided adose of controversy. Part way throughthe season, the logo was removedfollowing complaints by the ownerof the fields that it contradicted thecommunity nature of the tradition.Following the harvest, as oneyear’s transient beauty is cut down,Mr. Nakayama and other Inakadateofficials turn their minds to the nextyear’s artistic crop. These days, theyalso host seminars at the requestof other farming communitiesaround Japan on the practicaldetails of creating rice-paddy art.Mr. Nakayama expects that thespectacle will continue to grow.“One thing’s for sure,” he says.“We have more ambitious plans forour rice-paddy art every year.”Yoko Hani is a staff writer atthe Japan Times. Edited versionreprinted with permissionfrom the Japan Times.Rice Today January-March 2009 17