Consultations
ICOMOS has consulted several independent experts.

Fujisan(Japan)No 1417

Technical Evaluation Mission
An ICOMOS technical evaluation mission visited theproperty from 28 August to 6 September 2012.
Additional information requested and received
from the State Party
ICOMOS sent a letter to the State Party on 19 December
2012 requesting clarification on management system,
vision for the property, pilgrim routes, visitor management
strategy, conservation of upper access routes,
development control, interpretation strategy, monitoring
indicators, exclusion of Mihonomatsubara site and thename of property. A response was received from the State
Party on 28 February 2013 and the information has been
included in relevant sections below.

Official name as proposed by the State Party
Fujisan
Location
Yamanashi and Shizuoka Prefectures
Japan
Brief description
The beauty of the solitary, often snow-capped volcanic
Fujisan (Mount Fuji), rising above villages and tree
fringed sea and lakes, has inspired artists and poets andbeen the object of pilgrimage for centuries.

Date of ICOMOS approval of this report
6 mars 2013

Pilgrims ascending the crater at the summit andreturning to shrines at its foot, drew power from the
Shinto deities residing on the mountain and experienced
a symbolic death and rebirth.

2 The property
Description
Fujisan is a solitary stratovolcano, around 100 km southwest of Tokyo that rises to 3,776 meters in height. Thebase of its southern slopes extends to the sea shores of
Suruga Bay.

Today, although urban development has spread towards
the mountain, Fujisan still retains its sacred nature.
The top of the conical mountain above 1,500 metres has
been nominated with its pilgrim routes and crater
shrines, and, separately, around its base Sengen-jinja
shrines, "Oshi" Lodging Houses, and natural volcanicfeatures such as lava tree moulds, lakes, springs, andwaterfalls that became sacred destinations for pilgrims.

From ancient times, pilgrims carrying a long staff, have set
off from the compounds of the Sengenjinja shrines at its
foot to climb the mountain, and reach the crater at its
summit where it was believed that the Shinto deity,
Asama no Okami resided. At the summit, they carriedout a practice called ohachimeguri (literally, “goingaround the bowl”), processing to a number of slightly
elevated points on the crater wall.

Together these 25 sites form a serial nomination toreflect the essence of Fujisan’s sacred and inspirationallandscape.

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-kosocieties that flourished in the prosperous and stable
Edo period.

Category of property
In terms of categories of cultural property set out in
Article I of the 1972 World Heritage Convention, this is a
serial nomination of 25 sites.

As pilgrimages became more popular from the 18th
century onwards, organizations were established tosupport the pilgrims’ needs and routes up the mountainwere delineated, huts provided, and shrines andBuddhist facilities built. Curious natural volcanic featuresat the foot of the mountain, created by lava flowing down
after volcanic eruptions, came to be revered as sacredsites, while the lakes and springs were used by pilgrims
for cold ablutions, Mizugori, to purify their bodies prior toclimbing the mountain. The practice of making a circuitof eight lakes, Hakkaimeguri - including the five lakes
included in the Fujigoko (Fuji Five Lakes) - became aritual among many Fuji-ko adherents.

1 Basic data
Included in the Tentative List
30 January 2007
International Assistance from the World Heritage
Fund for preparing the Nomination
None
Date received by the World Heritage Centre
26 January 2012
Background
This is a new nomination.

Pilgrims progressed up the mountain through what theyrecognised as three zones; the grass area around the126base, above that the forest area and beyond that theburnt or bald mountain of its summit. The higher routes
are (clockwise) now known as the Yoshida, Subashiri,
Gotemba, and Fujinomiya. There are an additional fourroutes from the foot of the mountain: Shojiko, Yoshida,
Suyama, and Murayama but these are currently less wellused than the higher ones. From the additional
information provided it is apparent that the locations andcourses of the lower pilgrim routes varied, depending on
the religious group who made the pilgrimage and theroutes also changed over time.

8.

These shrines are spread around the foot of themountain.
9.

"Oshi" Lodging House (Former House of the
Togawa Family)
10.
"Oshi" Lodging House (House of the Osano
Family)11.
Lake Yamanakako
12.
Lake Kawaguchiko
13.
Oshino Hakkai springs (Deguchiike Pond)
14.
Oshino Hakkai springs (Okamaike Pond)
15.
Oshino Hakkai springs (Sokonashiike Pond)
16.
Oshino Hakkai springs (Choshiike Pond)
17.
Oshino Hakkai springs (Wakuike Pond)
18.
Oshino Hakkai springs (Nigoriike Pond)
19.
Oshino Hakkai springs (Kagamiike Pond)
20.
Oshino Hakkai springs (Shobuike Pond)
Pilgrims made a circuit of all eight ponds and conducted
ablutions before resting and setting out on the ascent of
Fujisan next morning. It is now difficult to appreciate theeight ponds as a group given their current context, with
low-rise development, including such commercial
development as shops and restaurants, especiallyaround Wakuike Pond. However, steps have been taken
to improve the connections, i.e. Sokonashiike Pond andChoshiike Pond will be “pulled together” by a connecting
pathway – and the road connecting Wakuike Pond andKagamiike Pond may be pedestrianized. Nonetheless, itwill probably be difficult to achieve a fully integrated
whole, especially a whole that demonstrates thecontinuity of the water system.

From the 14th century, artists created large numbers ofimages of Fujisan. In the period from the 17th to the 19th
century, the form of Fujisan became a key motif not onlyin paintings but also in literature, gardens, and othercrafts. In particular the wood block prints of Katsushika
Hokusai, such as the Thirty-Six Views of Mount Fuji, hada profound impact on Western art in the 19th century andallowed the form of Fujisan to become widely known as
the symbol of ‘Oriental’ Japan.
The serial nomination consists of the top zone of themountain, and, spread out around its lower slopes andbase, seven shrines, two lodging houses and a group ofrevered natural phenomena consisting of eight springs, awaterfall, a pine tree grove and two lava tree moulds.
Some of the lower level sites are now surrounded byurban development and no longer have inter-visibility
with each other or with the upper part of the mountainnor a clear relationship with the lower routes.
The twenty-five sites are as follows:
1.
Fujisan Mountain Area
This site covers the mountaintop worship areas andincludes eight ‘sites’:
i.
ii.
iii.
iv.

21.
Funatsu lava tree moulds
22.
Yoshida lava tree moulds
Set within extensive forestland, the two clusters of lava
tree moulds are extensive. There are 57 tree moulds inthe Funatsu lava tree moulds and 62 tree moulds in the
Yoshida lava tree moulds. (The clusters of tree moulds
are associated with specific lava flows.)

Omiya-Murayama(present
Fujinomiya)ascending route
Suyama (present Gotemba) ascending routes
Subashiri ascending route
Yoshida ascending route23.
Hitoana Fuji-ko Iseki
24.
Shiraito no Taki waterfalls
The mission expert was told that the shops andstorehouses located along the top edge of the falls
would be removed (and the business[es] relocated) – forboth aesthetic and safety reasons. A time line was not
given, although work has commenced on needed
improvements along the base of the falls.

These ascending routes take pilgrims from ‘station 5’ tothe top of the mountain. They in turn are linked to the
now little used lower pilgrimage routes that are not partof the nominated area. Alongside the routes aremountain huts for pilgrims.
v.
vi.
vii.
viii.
2.
3.
4.
5.
6.
7.

Fuji Omuro Sengen-jinja Shrine

Kitaguchi Hongu Fuji Sengen-jinja shrine
Lake Saiko
Lake Shojiko
Lake Motosuko

25.
Mihonomatsubara pine tree grove
This is located some 45km southwest of the Fujisan
mountain and consists of a sand bar with a grove ofsome 50,000 pine trees facing Suruga Bay. It is a placefrom which could be gained the specific views of Fujisanthat were depicted by the artist Hiroshige.

Fujisan Hongu Sengen Taisha Shrine
Yamamiya Sengen-jinja Shrine
Murayama Sengen-jinja Shrine
Suyama Sengen-jinja Shrine
Fuji Sengen-jinja Shrine (Subashiri Sengen-jinja
Shrine)Kawaguchi Asama-jinja Shrine

The single viewpoint is potentially problematic. It
certainly captures the viewpoint as seen in the relevant
woodcuts, but there are multiple associated viewpoints,
some of which are not as aesthetically pleasing because127

of shoreline barriers. There has however been an
attempt to blend the barriers with the natural landscapein terms of colour and shape.

In 1868, the Meiji government overthrew the Edo
Shogunate, and moved the capital to Tokyo. At that time,
Fujisan was visible from the hills of the new capital andthis fuelled interest in pilgrimages. The new government
also allowed women to climb the mountain, and as aresult the number of pilgrims rapidly increased –facilitated by improved transport along new railways androads.

The current area of pine trees extends to around 4.5km.
Until the mid-20th century the trees were on a 7km spit ofwhite sand and it was this combination of trees andwhite sand that were celebrated. The sand was
subsequently turned black apparently because of
disruption during the construction of a shinkansen train
line when much of the Abe River’s white sand was used
and the sea swept away the remainder. Remedial action
is being undertaken.

Today, the cultural tradition of climbing the mountain aspart of the worship of Fujisan continues and hasenormous popular appeal.

History and development
There is evidence for settlement at the base of Fujisan
from around 13,000-14,000 years ago. Because of
frequent volcanic eruptions (at least over the past 1,200
years), Fujisan was revered at a distance and worshiped
it seems from afar. Around the 8th century AD people
sought to quell the eruption through building shrines in aplace with views of the mountain and dedicating them tothe god of the mountain, Asama no Okami, who wasthought to reside in the crater. And gradually the god
and the mountain came to be seen as one.

3 Justification for inscription, integrity andauthenticity
Comparative analysis
The analysis provided in the nomination dossiercompares Fujisan with other mountains in Japan andaround the world that share similar characteristic –nature as an object of worship and as a source of artistic
inspiration. The analysis did also consider the
implications of the fact that the mountain was worshipedin terms of the paths that reflect the act of climbing, theshrines, both built and natural that became specificsacred places on the mountain, and lodging houses tohouses the pilgrims, all of which reflect a persistentformalised tradition, and one that attracted large
numbers of people. And it also took account of the factthat images of Fujisan had an impact way beyond theboundaries of Japan.

And by the 11th century, the form of Fujisan came toinspire literature and art – notably on painted paper
screens.
When eruptions began to subside during the 12th
century, Fujisan became a centre of training for ascetic
Buddhism, a fusion of Buddhism and Shintoism thatrevered mountains as elements of nature. Ascetics
would climb the mountain to obtain spiritual power form
the god of the mountain who was seen as a Shinto
manifestation of Buddha. Dainichiji temple was built on
the summit.

Fujisan is compared to 36 mountains outside Japan,
including 13 in China, and others in Central Asia,
Europe, North America and Australia.
In terms of worship, two major differences are noted
between Fujisan and many others in that first the objectof pilgrimage for pilgrims visiting Fujisan is to gain
spiritual benefit from climbing the mountain rather thanvisiting temples on or near the summit, and second
natural features such as springs and lava rocks are
considered sacred. Only Mounts Taishan, Emei, Wutai
and Kailas, all in China, and Admas Peak in Sri Lanka,
have similar characteristics. However the tradition ofmountain climbing, is considered strongest in Fujisan
and mass ascent is still practiced today.

The popularity of mountain ascetics increased in the 15thand 16th centuries and by this time the routes to thesummit still sued today had been created. Lodging
begun to be created around the shrines at the foot of themountain and along the ascending routes.
During the peace and prosperity of the Edo period, thefundamental originations for Fujisan worship – that cameto be known as Fuji-ko – were put in place by Hasegawa
Kakugyo, the ascetic who found enlightenment in a caveon the mountain. He responded to the needs of common
people for more spiritual and material benefits from
Buddhist teachings and his teachings were passed down
through disciples.

In terms of artistic influence, Fujisan is compared tomountains that inspire artists and writers and especiallywhere images have had a major impact or influence
outside this region and have contributed strongly to theevolution of art history. Only Mounts Huangshan,
Lushan, in China, the Rocky Moutains, USA, Mount
Sainte-Victoire, France, the Swiss Alps, andAppalachian Mountains, USA are seen as have somesimilar characteristics. However in all cases the artistic
impact of Fujisan is considered to be more far-reaching.

By the 18th century, in response to the growing popularityof pilgrimages, arrangements for visiting the mountainwere formalised; pilgrims stayed in lodging houses, took
on a guide, and carried out religious ablutions in lakes
and springs around the base before their climb to thesummit. During the two months in the summer when themountain was open up to 20,000 people reached thesummit.

128For mountains outside Japan, the analysis demonstrates
that a combination of worship-ascent and far-reaching
impact of paintings of the mountain is not matched.

For mountains within Japan, the analysis considers
seven sacred mountains, of which three are alreadyinscribed. All of them display associations between
religion and sacred nature and five have inspired artists.
In the Kii mountains and Mounts Asosan and Tateyama,
worship is linked to climbing the mountains. Although all
the mountains could be said to have similar avocations
between mountain gods and nature, and most had links
to artists and poets, none of the mountains have attained
the sustained prominence of Fujisan in terms of worship,of its image and of the impact artistic representations ofit had in the history of Western art.

What is omitted from the comparative analysis is ajustification for the selection of all of the sites thatcomprise the serial nomination. Not all the mountain has
been nominated from its summit to its base. Instead 25
sites have been selected including the top part of itscone, and shrines, lodging houses and natural features
scattered around its base.



ICOMOS considers that what is significant is the awethat Fujisan’s majestic form inspired and the way that
this was transformed into religious practices that linked
Shintoism and Buddhism, people and nature, andsymbolic death and re-birth with ascents to, anddescents from, the summit, formalised in routes, shrines
and lodging houses. And secondly the way the almost
perfect, snow-capped conical form of Fujisan inspired
artists in the early 19th century to produce images thattranscended cultures, allowed the mountain to be known
around the world, and had a profound influence on thedevelopment of Western art.

Additional information supplied by the State Party on 4
September 2012 sets out the criteria for the selection ofshrines. Although around 90 Shinto shrines have anassociation with Fujisan, only those sites that have aparticularly close association with mountain worship, andthe ascending routes in particular, have been included.
The shrines selected were those:The sacred, majestic form of its solitary, volcanic
cone is known throughout the world.
The worship of Fujisan is unique, centring on
pilgrims drawing power from the deities residing in
the mountain through experiencing symbolic deathand rebirth in the course of making visits to thereligious sites at the foot of the mountain andworship-ascents to the summit.
The awe that Fujisan inspired gave birth to traditions
that emphasized coexistence with nature, reverence
for Fujisan’s majestic form, and gratitude for the
blessings it provides through the springs at its baseand other natural attributes.
These traditions served as inspiration for the Ukiyo-e
prints of the artists Katsushika Hokusai and Utagawa
Hiroshige that depicted the many facets of Fujisan,and helped it become a significant symbol of Japanand Japanese culture.
Fujisan is now one of the world's most celebrated
mountains.

that give testimony to the transition of Fujisan
worship from its origin to the present;that are still in operation as religious centers today;
in locations directly connected with Fujisan itself; orthat retain the historical and natural environments
very well.

Although Fujisan is undoubtedly a national symbol inJapan, ICOMOS considers that its influence has
extended far beyond Japan and it is now of wider thannational significance.
Although it is the form of the mountain that has
underpinned sacred nature and its aesthetic appeal, thewhole form from the summit to the base has not been
nominated. Rather twenty-five sites have been selectedthat together reflect the way the mountain was used bypilgrims. The key issue is how this series of sites may beperceived to represent the whole idea of the mountainlandscape. ICOMOS appreciates that is not practical tonominate the whole mountain as significant development
has enveloped its lower slopes, and part is used formilitary activity. However, many of the various sites
nominated no longer have a clear relationship with theformer pilgrimage routes and, as it is this relationshipthat gives them their value, this link must be clearly
established.

The criteria for the selection of natural phenomena andlodging houses are not set out. ICOMOS understands
that development in the past has resulted in the loss of anumber of “Oshi” Lodging Houses. Only ten remain in
Yamanashi Prefecture (associated with the Yoshida
Ascending Route) while those associated with ascending
routes in the southeast have been demolished. Of theten, only two have been nominated as others are inprivate ownership or need restoration.
ICOMOS considers that the comparative analysis
justifies consideration of this property for the World
Heritage List.
Justification of Outstanding Universal Value
The nominated property is considered by the State Party
to be of Outstanding Universal Value as a culturalproperty for the following reasons:

ICOMOS considers that the ability of the series as awhole to convey its meaning will be crucial to anunderstanding of its value. This means that each of theindividual sites must be readily understood in the context
of the whole. How each of the sites was used inconnection with the pilgrim routes around the base andfor the ascent and descent needs to be readily129appreciated as does the relationship between the sites
such as between the lodging houses and ascent routes.
Individual sites have no meaning on their own: they are
elements in a larger picture.

buildings and “Oshi” lodging house are grouped together
rather than linked to specific ascending routes.
The serial property therefore currently does not clearly
project itself as a whole nor does it allow a clear
understanding of how each of the component sites
contributes to the whole property in a substantial way.

The Outstanding Universal Value that has been put
forward relates to the sacred nature of the mountain andits formal pilgrim routes, and to the ability of themountain to inspire artists. If the latter is to be properly
understood, that beauty of the whole mountain needs tobe appreciated from an adequate number of places
where the views will be protected. However it is notnecessary to include the viewpoints as part of theproperty as they in themselves are not part of the value.
Currently one viewpoint has been included: theMihonomatsubara pine grove. This does not contributeto the value of the mountain but is a place from which toappreciate the form of the mountain.

In terms of spiritual integrity, the pressure from verylarge numbers of pilgrims in two summer months and theinfrastructure that supports them in terms of huts, tractor
paths to supply the huts and large barriers to protect thepaths from falling stones works against the spiritual
atmosphere of the mountain. As does the low risedevelopment around the ponds and some areas of thelakes.
The integrity of individual component sites relates in partto their fabric but also to their context and the latter is forsome sites vulnerable. For instance the series of eight
ponds cannot readily be appreciated as a whole
because of low-rise development and there are few links
between them. Pilgrims traditionally made a circuit of alleight before resting and setting out on the ascent nextmorning. This interconnectedness needs to bestrengthened to allow the ponds to display their functions
in relation to the pilgrimages.

Integrity and authenticity
Integrity
The integrity of the nominated series is not easy toappreciate. The issue is whether the 25 sites cantogether be said to convey the spiritual and aesthetic
value of Fujisan.
The critical issue in regard to the integrity of the serial
property is how well the attributes can be understood asa whole. There is no question that they can mostly beunderstood, but currently it takes considerable time andeffort to do so. Not only are some of the attributes widely
separated, but existing interpretation (from brochures topanels and plaques) is piecemeal and/or lacks clarity.

In the immediate proximity of the waterfalls, there are
currently shops and storehouses that weaken theirintegrity. However it is stated that Fujinomiya City is totake comprehensive measures, including the possibilitiesof their removal and/or relocation, in agreement with
their owners
The one component that cannot be seen to contribute tointegrity is the Mihonomatsubara site, which is 45km
from the mountain.

The Guide Map for Pilgrimage of 1843 illustrated in thenomination sets out clearly the pilgrim routes around theshrines and ablution springs on the lower slopes, thenup to the summit. The upper parts of the ascent routes
are included in the nominated top part of the mountain,
and most pilgrims it seems start their walk half way up.
However, the pilgrim routes around the lower part of themountain are not nominated and now apparently little
used. Their relationship to the lower shrines and lodging
houses is unclear. Thus the whole ensemble of pilgrim
routes and supporting shrines and lodging housescannot readily be apprenticed.

Authenticity
Authenticity is the ability of the series as a whole toconvey its value through its attributes related to its
spiritual significance, and the ability of its beauty toinspire. As stated above, the individual component sites
currently do not project their meaning in relation to eachother and the ability of the whole mountain to display its
spiritual and aesthetic value is to a degree limited. The
component parts need to be better integrated into thewhole, with the relationship between shrines, andlodging houses and the pilgrim routes being clearly setout.

The publicity for the nomination such as the Designating
Fujisan as a World Cultural Heritage Site brochure(Shizuoka-Yamanashi Joint Council for Fujisan World
Cultural Heritage Inscription) separates the attributes by“ownership”, i.e. which attributes are in Yamanashi
Prefecture and which attributes are in Shizuoka
Prefecture. The relationship of the attributes has to be“constructed” by the reader. The Fujisan brochure(Agency for Cultural Affairs) groups the attributes under“object of worship” and “source of artistic inspiration”.
The attributes are grouped according to type and notaccording to association, i.e. shrine compounds andIn terms of the authenticity of individual sites, thephysical attributes relating to the upper routes, shrines
and lodging houses are intact. The renewal of shrines ona periodic basis is a living tradition. The Ise Shrine isrenewed on a 20-year cycle while some shrines (or partsof some shrines) associated with Fujisan are renewed
on a 60-year cycle. This means their authenticity rest on
their siting, design, materials and function rather than on
the age of their component parts. However the location130and setting of some of the component parts iscompromised by development that interferes with theinter-visibility between the sites – such as between thefive lakes.

ICOMOS considers that what has not been
demonstrated is how the landscape of Fujisan can beseen as illustrating a significant stage in human history.
Thelong-standing
religious
traditionsindeedtranscended historical periods. Although the illustrationsof Fujisan that influenced Western artistic thinking are
more closely related to one period, it is the fusion ofreligious and artistic traditions that can be seen as
making Fujisan outstanding.

The one component that cannot be seen to be linked tothe other 24 is the Mihonomatsubara site, which is 45km
from the mountain and not part of the pilgrimage circuit.
ICOMOS considers that the conditions of integrity andauthenticity have been met but for some components
are weak and need to be strengthened and for theoverall series, the relationship between the sites needs
to be strengthened.

ICOMOS considers that this criterion has not been
justified.
Criterion (vi): be directly or tangibly associated with
events or living traditions, with ideas, or with beliefs, withartistic and literary works of outstanding universal
significance;

Criteria under which inscription is proposed
The property is nominated on the basis of cultural criteria(iii), (iv) and (vi).

This criterion is justified by the State Party on the
grounds that the images of Fujisan in early 19th-century
Ukiyo-e prints have had a significant impact on many
Western works of art, and have established Fujisan as auniversal symbol of Japan and Japanese culture
throughout the world.

Criterion (iii): bear a unique or at least exceptional
testimony to a cultural tradition or to a civilization which
is living or which has disappeared;
This criterion is justified by the State Party on the
grounds that the worship of deities believed to reside on
Fujisan inspired traditions that emphasized coexistencewith the volcano and gratitude for the blessings it
provides through the springs and other natural attributes
found at its base. These traditions continue to befaithfully preserved to the present day, influencing theform and spirit of contemporary ascents of the mountainand pilgrimages to the sites on and at the base of
Fujisan.

ICOMOS considers that early 19th century prints ofFujisan had a profound impact on the development ofWestern art and allowed the form of Fujisan to be known
around large parts of the world. ICOMOS does notconsider that the Mihonomatsubara site, which is 45km
from the mountain, can be considered as part of themountain.
ICOMOS considers that this criterion has been justified.

Fujisan is an exceptional testimony to a living cultural
tradition centred on mountains.

ICOMOS considers that the serial approach is justified
although the links between the component parts need to
be strengthened, better articulated and presented toallow appreciation of how they each relate to pilgrimage
routes and to the overall spirituality and aesthetic valueof the mountain landscape.

ICOMOS considers that this justification is appropriate
for a series of 24 sites, excluding the Mihonomatsubara
site, which is 45km from the mountain, although it isessential that there is a clear understanding andappreciation of the relationships between thecomponents parts in order that the property can beperceived as a whole.

In conclusion, ICOMOS considers that the nominatedproperty meets criteria (iii) and (vi) but that authenticity
and integrity are in places weak and need to bestrengthened.

ICOMOS considers that this criterion is justified for theseries if the Mihonomatsubara site is excluded.
Criterion (iv): be an outstanding example of a type ofbuilding, architectural or technological ensemble orlandscape which illustrates (a) significant stage(s) inhuman history;

4 Factors affecting the property
The nomination states that development pressures
include the construction of hotels and other tourist
facilities, industrial parks at the mountain foot, andaround the local people’s residential areas. The
construction of urban infrastructure facilities such as
roads and sewage are also envisaged.

This criterion is justified by the State Party on the
grounds that through a combination of religious practices
centred on Fujisan since pre-modern times, and artistic
activity based on the views of the mountain, Fujisan has
come to be recognized as an outstanding example of asacred and majestic mountain landscape typifying
Japan, and as one of the world’s celebrated mountains.

131

ICOMOS considers that there is a need for a landscapeapproach to planning that acknowledges the relationshipbetween the various sites and the wider mountain. In
particular tighter development controls are needed along
the lower mountain slopes (especially in Yamanashi
Prefecture) and along the shorelines of Fuji Five Lakes(Fujigoko).

ICOMOS considers that attention needs to be given to
the means used to stabilise the paths and prevent watererosion. Currently in places the interventions are of anindustrial nature with retaining walls cutting across thelandscape. For a spiritual landscape more sensitive
interventions would be appropriate. Perhaps there could
be exchanges of ideas with other mountainous areas
where erosion caused by walkers has been repaired
using local materials.

Utility poles block views of Fujisan from certain places.
Yamanashi Prefecture has taken (and will continue totake) steps to remove roadside utility poles that blockviews. Poles blocking views of Fujisan have alreadybeen removed from Oshino Hakkai Springs (Kagamiike
Pond [Component 19]) and those around Omiya Bridge(access point to Oshino Hakkai Springs) have been
removed as well; utility poles on the east side of Route
139, the side fronting the “Oshi” Lodging Houses(Components 9 & 10), have also been removed. It is
understood that as roads are upgraded, and when thereis the potential to improve viewpoints/views, utility poles
will continue to be removed.

There is a need for harmonious visitor facilities onworship ascent routes. On Fujinomiya Ascending Route(Component 1-2), the rear façade of the building for
visitor facilities at the 5th Station needs to be treated in amore harmonious manner. Its stark exterior is in marked
contrast to its front elevation, which is faced in lava
stone. On Subashiri Ascending Route (Component 1-4):
its two huts, both with restaurants, and two free-standing
toilets at the 5th Station are all simple small-scalebuildings/structures which sit in relative harmony with theforest environment. However on Yoshida Ascending
Route (Component 1-5): design improvements areneeded and underway for the facilities at the 5th Station.

The view of Fujisan from Mihonomatsubara pine tree
grove (Component 25) is potentially problematic. It
captures the viewpoint as seen in the well-known
Hokusai woodcut, but there are multiple associatedviewpoints, some of which are not as aestheticallypleasing because of shoreline barriers (five in all, four ofwhich create distinct “hills” as the shoreline meets thewater). There has however been an attempt to blend thebarriers with the natural landscape in terms of colour andshape.

Considerable numbers of power boats and jet skis on
the lakes disturb the peace of the surroundings.
Associated with them are car parking needs some ofwhich are situated in an informal way along the lakeshores.
The larger two lakes (Lake Yamanakako and Lake
Kawaguchiko) have adequate parking facilities, while thesmaller lakes face more intense usage and haveinadequate parking. Appropriate parking places need to
be developed away from the lake shores.

As stated above, the lower level pilgrimage paths are
hardly used and their tracks that linked shrines andlodging houses and led pilgrims to the upper ascentroutes are no longer visible as part of the way themountain was used. There is a need to consider how
these lines might be promoted and interpreted.

Some of the popular places and the shrines havemultiple signs that detract from the beauty of thelandscape.
During peak times for visitors in July and August, there isenormous pressure on the roads from private cars
driving to the access routes. Fumes from cars and buses
are a recognised concern. There is discussion on thepossible use of shuttle buses.

The ascending routes, especially the Yoshida Ascending
Route (Component 1-5), have unique challenges assome 270,000 people climb to the summit from the 5th
Station each year. Some 30,000 persons use the otherroutes. Since the trails are only open during the summer(July and August), those wishing to make the ascent,have a narrow window to do so. The number ofhikers/climbers puts great strain on the trail and on theassociated mountain huts. The overall carrying capacityof the mountain needs to be considered in relation toboth the physical damage inflicted by visitors and to his
impact on spirituality of the mountain.

Concern has been expressed that radioactive wastefrom Fukushima is being accepted by Shizuoka andYamanashi prefecture and its municipal governments forburning without any environmental impact assessment.
The State Party has confirmed that only the (nonradioactive) earthquake/tsunami-caused disaster wastes
from the coastal areas of Iwate Prefecture and Miyagi
Prefecture are treated at waste treatment facilities off thedisaster-hit sites, not radioactive wastes from Fukushima
Prefecture.

Although much of the trail is in good condition there aresteep sections where dirt-filled “cages” had partially
failed, exposing the metal armature. The nomination
mentions proposed civil engineering work to beundertaken to prevent erosion at Osawakuzure andelsewhere to address collapse of the mountain slopes.

Shizuoka Prefecture started to accept disaster wastes inwhich no or negligibly low radioactive Cs (cesium) has
been detected after their safety has been carefully132

examined and confirmed. Yamanashi Prefecture does
not accept wastes from other prefectures.

by Fujiyoshida city and the other is in private ownership.
The mountain area (component 1) is owned by manydifferent owners including government agencies, religiousorganisations and private owners. Most of the shrines are
owned by religious organisations. The mountain huts are
owned by their operators on leased land.

It is stated in the nomination dossier that: ‘forest fires in
the Fujisan Mountain Area and the unexpected spread ofa fire on the occasion of the prescribed field burning thatis periodically carried out in the grassland at themountain foot are anticipated’.

Protection
The extensive layering of laws as well as theirintegration offers sufficient protection with some
exceptions. A variety of controls are in place, ranging
from the national level to the local level.

Although there is continuing traditional land
management by a variety of prefectural and localorganizations, ICOMOS considers that grassland fires
should be regulated or prohibited.

At the national level the most relevant laws are: Law for
the Protection of Cultural Properties, Natural Parks Law(National Park Special Zone); Natural Parks Law(National Park Ordinary Zone); and Law on the
Administration and Management of National Park
Ordinary Zone (sometimes referred to as the Law on the
Administration and Management of National Forests).

Currently, there is no disaster plan in place in the eventof a volcanic eruption or fire. ICOMOS considers that aplan should be prepared as soon as possible.
ICOMOS considers that the main threats to the property
are incremental developments that could compromise
further the ability of the mountain to fully display the way
it has developed as a pilgrimage site, could preclude thevisibility of the network of links between the individualsites, and could impact adversely on the spirituality ofthe mountain. The large visitor numbers appear to cause
considerable problems in relation to erosion of theslopes and the engineering work proposed to deal withthis needs to be considered in terms of its adverse
impact on the sacred mountain. There is an urgent needfor further development control within some of thenominated sites and their setting, for a visitor
management strategy and also for a risk preparedness
plan.

At the prefectural level there is the Yamanashi
Prefecture Landscape Ordinance, the (Yamanashi
Prefecture) City Planning Act (Yamanashi Prefecture
Scenic Zone Ordinance) and the (Shizuoka Prefecture)
City Planning Act (Urbanization Control Area).
At the city, town and village levels there are a number ofLandscape Plans and Guidelines for Land Use Projects.
Guidelines for Land Use Projects for Gotemba City,
Oyama Town and Susono City will be replaced byLandscape Ordinances between 2013 and 2016;
Fijikawaguchiko, which includes Lake Kawaguchiko, will
have its Landscape Plan completed in 2013 [under thecurrent Landscape Ordinance].

5 Protection, conservation andmanagement

The overall landscape of component 1, the Fujisan
Mountain area is protected as part of the Fuji-Hakone
National Park and this includes the lava tree molds andLakes Yamanakako and Lake Kawaguchiko. Most
component sites, including the ascending routes, shrines
and lakes within component 1, have been given national
protection as important cultural properties, historic sites
or places of scenic beauty – within the last two years.
The Murayama and Fuji Sengen-jinja Shrines(components 4 and 6) and the Oshino Hakkai springs(components 13-20) were protected in September 2012.

Boundaries of the nominated property
and buffer zone
The property and buffer zone boundaries for eachcomponent/constituent part are logical (defensible) andclearly defined. All boundaries are marked by boundary
markers (at each turn) and/or “marked” by existing manmade or natural boundaries such as high water marks(Oshino Hakkai springs [Components 13 to 20]), roads,
ridgelines, settlements, shorelines and/or sight lines. In
some cases, ownership patterns have established theproperty boundaries, such as around the shrines.

Of the component sites, only the Mihonomatsubara pinetree grove site is not currently protected at a national
level.

ICOMOS considers that the boundaries of the nominatedproperty and of its buffer zone are adequate but that theMihonomatsubara site does not contribute to
Outstanding Universal Value.

What remains unclear is how these various laws inpractice control the scale and location of buildings thatmight impact on the sites. The Landscape Acts and the
Guidelines for Land Use Projects (and related
legislation) indicate an understanding of the need forharmonious development (in colour, design, form,
height, materials and sometimes scale). However, thestrictest controls seem to relate primarily to colour andheight. This is problematic as there is a need to control
more tightly the scale of buildings, such as hotels as well

Ownership
Four of the Lakes are owned by the Ministry of Land,
Infrastructure, Transport and Tourism, and one is owned
jointly with religious organisation. Four of the springs are
owned by the Ministry of Finance; the lava tree moulds by
Yamanashi Prefecture; and one of the 14 lodging houses133as the location of buildings, especially the siting ofbuildings, including hotels, on the lower flanks ofmountains.

ICOMOS considers that the processes in place for theconservation of individual structures are good; there
appears to be less developed conservation approaches
for the mountain ascent paths and their associatedbarriers and huts and these need to be developed inorder that interventions respect the spiritual nature of themountain.

It is understood that all component parts and the bufferzones are planned to be covered completely byLandscape Plans around 2016. These provide theframework within which Municipalities undertake
development control.

Management

There also appears to be little control over the use of the
Fuji Five Lakes, where jet skis are allowed on Lake
Kawaguchiko even though it is part of the National parkand an area of Scenic Beauty. However, it is understoodthat only through a bottom-up approach will local
communities “buy in” to stronger controls. Accordingly,
village/town meetings are being held on a regular basis
to address problems of this kind.

Management structures and processes,
including traditional management processes
The two prefectures, Yamanashi and Shizuoka with
relevant municipal governments have established the
Fujisan World Cultural Heritage Council to create acomprehensive management system for the property.
These bodies also work in close cooperation with themain relevant national agencies that are the Agency for
Cultural Affairs, which is the competent authority
charged with preserving and managing Japan’s cultural
heritage properties, the Ministry of the Environment andthe Forest Agency.

ICOMOS considers that the legal protection in place forthe component sites is adequate but development
control needs strengthening for the setting of the lower
sites.

This Council is receiving input from an academic
committee of experts for the surveying, preservation andmanagement of Fujisan.

Conservation
In general, most of the relevant components are wellconserved – or undergoing appropriate conservation.
The exceptions are one of the lodging houses and theascent routes. There is a conservation plan for thelodging houses, but no action plan(s). Of particularconcern are modern interventions to the elevation facing
the street. The ascent routes are in places heavily
eroded and in other places have been protected byharsh, intrusive barriers. The routes, barrier and huts
along the routes, although a highly important part of theimage of the mountain from close range, need to be thesubject of a conservation strategy that reflects thespiritual nature of the mountain and the reasons why
pilgrims visit. The sacredness of the place needs toinfluence conservation approaches.

Policy framework: management plans andarrangements, including visitor management
and presentation
In addition to a management system, there is acomprehensive management plan – “The FujisanComprehensive Preservation and Management Plan,”which was established in January 2012. Essentially, theaim of the Management Plan is to coordinate the actionsof all parties, including local residents.
The plan lays out not only methods for the preservation,
management, maintenance, and utilization of theproperty overall but also for each individual componentsite and also sets out the respective roles that thenational and local public bodies and other relevantorganizations should play. In addition there are park
plans under the Natural Parks Law and the National
Forest Law that provide measures for the managementof the visual landscape from important viewpoints.

The nomination dossier states that the repair andrestoration of Sengen-jinja shrine buildings, “Oshi”
lodging houses, and archaeological sites included in thecomponent parts and their constituent elements shall be
conducted with a high degree of accuracy based on the
results of various academic researches such as thestudy of structural members.

The challenges that the management of the property will
have to face include how to manage the overall series asa landscape, how to balance conservation of the special
qualities of the mountain landscape with commercial andrecreational activities that undermine the harmonious
qualities of the lakes, and how to promote anunderstanding of the relationships between thecomponent parts, the pilgrim routes and the overall
mountain.

Yamanashi Prefecture has started comprehensive
research on Fujisan from the perspectives of history,
worship, and art under the “Yamanashi Prefecture
FujisanComprehensive
AcademicResearch
Committee”. This will collect and inventory relevantmaterials. In addition, as an awareness-raising activity,
an explanatory meeting for local people is organized atleast once a year to promote the results.

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Fujisan has long been both a sacred place and arecreational destination. The two are intertwined inspace and over time. However, some component andconstituent parts now need to ensure that the balanceremains an appropriate, sustainable one.

For the upper routes an overall conservation approach isneeded for these 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.

The property is subject to conflicting needs between
access and recreation on the one hand and maintaining
spiritual and aesthetic qualities on the other hand.

In the additional information, it is stated that The FujisanWorld Cultural Heritage Council is planning to complete
the development of the “Visitor Management Strategy”
and adopt it by the end of 2014. Also an Interpretation
Strategy will be adopted around the end of 2014.

A ‘vision’ for the property needs to be drafted to set out
approaches to address this necessary fusion and toshow how the overall series can be managed as acultural landscape that draws together the relationships
between the components and stresses their links withthe mountain.

It is unclear whether or not the current staff associatedwith the inscription will be involved with post-inscription
responsibilities. Judging from the quality of the current
staff, and their deep understanding of the proposed
property, it would be unfortunate to lose their expertise,especially given the complexity of the property and theneedtocreateintegration
through
effective
interpretation.

From the additional information provided, it isunderstood that the property will be managed as acultural landscape and that a vision will be developed by
the Fujisan World Cultural Heritage Council and adopted
by the end of 2014. Thereafter the Management Plan will
be revised with a view to clarifying the measures neededby around the end of 2016.

ICOMOS considers that the management of thisextensive property faces considerable challenges toensure an equitable balance between providing accessand recreation on the one hand and on the other handsustaining the spiritual and aesthetic qualities of themountain. Currently facilities built to serve the active
visitors seem to dominate some areas of the landscapeto the detriment of its sacred and aesthetic qualities.

The Fuji Five Lakes (Fujigoko), and especially the twolarger lakes – Lake Yamanakako (Component 11) and
Lake Kawaguchiko (Component 12), face increasingpressure from tourism and there is some disagreement
as to how the recreational use of the lakes should becontrolled. Fortunately, local communities, throughworkshops, have begun to work together to ensure aclean environment with appropriate controls on lake
usage. Similarly, the local community associated with
Oshino Hakkai Springs (Components 13 to 20) has
started to address the need to create an appropriate
setting for the springs – and to provide clear access tothem.

ICOMOS considers that although the overallmanagement system for the property is adequate, there
is an urgent need to operationalize it and to extend it
through the development of visitor management
strategies, and interpretation strategies that are basedon a clear vision of the property as a whole and on acultural landscape focus. ICOMOS recommends that thisover-arching vision and the two strategies need to be
developed as soon as possible and before further
decisions are taken on new interpretive centres.

A visitor management strategy is needed as a basis forsome of the decisions on carrying capacities for theheavily used upper routes, parking, service buildings andvisual clutter but also on how visitors may perceive thecoherence of the nominated parts and their associations.
This is particularly crucial for the sites in the lower partsof the mountain where their relationship with the pilgrim
routes is unclear.

6 Monitoring
Monitoring indicators have been developed that include
environmental pressures, natural disasters, tourism
pressures, impacts on component parts such as water
quality, deterioration of historic buildings, and thenumber of visually intrusive elements. These are to beaugmented with indicators relating to the observation oflandscape from fixed viewpoints and the status ofreligious events associated with the worship of Fujisan.

There is a need to delineate the pilgrim routes on thelower slopes of the mountain, in relation to the shrines
and lodging sites and to the upper ascent routes, and toshow how these might be perceived and understood.

The links between the component parts need to beunderstood, and indicators should be developed toreflect progress with promoting and understanding theselinks.

The additional information provided states that further
measures to delineate the locations and courses ofpilgrim routes at the mountain foot will be explored andmeasures will be developed to facilitate visitors’
perception and understanding of the inter-relationshipamongst the individual component parts.

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As a series that reflects the spiritual and artistic
importance of Fujisan, ICOMOS considers that thecomponent sites need to be part of the mountain.
Twenty-four sites cover the summit of the mountain anda large number of sites around the pilgrim routes. The
one site that does not fit this group is theMihonomatsubara site. This lies 45 km away from themountain and is a place from which Fujisan can beviewed. Its importance lies in its association with 19th
century prints of Fujisan. ICOMOS considers that long
distance views of Fujisan have been an extremely
significant part of its development and still are valued.
Those that remain need to be protected to help promote
an understanding of the property but they cannot be said
to be an integral part of the spiritual and inspirational
mountain. ICOMOS therefore recommends that theMihonomatsubara site should not be included in theoverall series.

ICOMOS considers that the monitoring indicators areadequate but could be augmented to reflect progresswith establishing ways of understanding links between
the component parts.

7 Conclusions
The image of Fujisan is clearly of outstanding universal
significance for the impact it has had on Western art as
an expression of Japanese culture.
Fujisan has long been a sacred place, related to the ideaof its perfect form and its assertions with Shinto deities.
While the summit of the mountain was its most sacredplace, the lower slopes became important staging posts
with their formalised shrines and lodging houses linked
to the symbolic preparations that pilgrims made before
they took the higher paths.

8 Recommendations

Today the lower slopes have been encroached bydevelopment that has fragmented the relationshipbetween some of the shrines and the lower paths andthe paths themselves are now hardly used. Most pilgrims
ascend the mountain from the 5th stage half way up.

Recommendations with respect to inscription
ICOMOS recommends that Fujisan, Japan, excluding
the Mihonomatsubara site, be inscribed on the World
Heritage List on the basis of criteria (iii) and (vi).

Nevertheless many elements of these essential
preparatory stages remain and have been nominated.
These sites have however been nominated individually
as a series rather than as part of the overall landscapeof the mountain. The once important links between theshrines and the lower paths and the formalised circuits
made by the pilgrims are now in places difficult toperceive.

Recommended Statement of
Outstanding Universal Value
Brief synthesis
The solitary, often snow-capped Mount Fuji (Fujisan),rising above villages and tree-fringed sea and lakes, has
inspired artists and poets and been the object ofpilgrimage for centuries. Fujisan is a solitary stratovolcano, around 100 km south-west of Tokyo that rises
to 3,776 meters in height. The base of its southernslopes extends to the sea shores of Suruga Bay.

ICOMOS considers that although the development thathas taken place does not allow these lines to bereinstated as they once were, it nevertheless considers
that the property needs to be managed and presented insuch a way that these links can be perceived and readily
understood in order that the contribution that each of thesites makes to the whole is clearly apparent.

The awe that Fujisan’s 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, withworship 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 thattranscended cultures, allowed the mountain to be known
around the world, and had a profound influence on thedevelopment of Western art.

To this end, ICOMOS considers that the overall vision
for the property needs to be strengthened so that it
informs the way the series is managed and interpreted toallow an understanding of the component sites as allpart of one mountain and linked as part of a landscape.
As the main value of the mountain relate to its aesthetic
and spiritual qualities, ICOMOS also considers thatthese aspects need to be given a higher profile in its
management.

From ancient times, pilgrims carrying a long staff, set off
from the compounds of the Sengenjinja shrines at thefoot of the mountain to reach the crater at its summit
where it was believed that the Shinto deity, Asama no
Okami resided. At the summit, they carried out a practicecalled ohachimeguri (literally, “going around the bowl”),
processing around the crater wall. There were two typesof pilgrims, those who were led by mountain ascetics,
and from the 17th century onwards, those in greater

Although ICOMOS considers that the main structures ofthe management that are in place are satisfactory, itconsiders that the enormous size and complexity of thisproperty brings the need for more focused strategies oninterpretation, conservation and access.

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Utagawa Hiroshige had an outstanding impact on thedevelopment of Western art, and have allowed themajestic form of Fujisan, which can still be appreciated,
to be known around the world.

numbers who belonged to Fuji-ko societies thatflourished in the prosperous and stable Edo period.
As pilgrimages became more popular from the 18th
century onwards, organizations were established tosupport the pilgrims’ needs and routes up the mountainwere delineated, huts provided, and shrines andBuddhist facilities built. Curious natural volcanic featuresat the foot of the mountain, created by lava flowing down
after volcanic eruptions, came to be revered as sacredsites, while the lakes and springs were used by pilgrims
for cold ablutions, Mizugori, to purify their bodies prior toclimbing the mountain. The practice of making a circuitof eight lakes, Hakkaimeguri - including the five lakes
included in the Fujigoko (Fuji Five Lakes) - became aritual among many Fuji-ko adherents. Pilgrims
progressed up the mountain through what theyrecognised as three zones; the grass area around thebase, above that the forest area and beyond that theburnt or bald mountain of its summit.

Integrity
The series contains all the necessary components
needed to express the majesty of Fujisan and its spiritualand artistic associations. However, because ofdevelopment in the lower part of the mountain, therelationship between pilgrims’ routes and supporting
shrines and lodging houses cannot readily beappreciated. The serial property currently does notclearly project itself as a whole, nor does it allow a clear
understanding of how each of the component sites
contributes to the whole in a substantial way. There is aneed to strengthen the inter-connectedness between thecomponent sites and to introduce interpretation thatallows a more accessible understanding of the value ofthe whole ensemble and the functions of the various
parts in relation to pilgrimages.

From the 14th century, artists created large numbers ofimages of Fujisan and between the 17th to the 19th
century, its form became a key motif not only in paintings
but also in literature, gardens, and other crafts. In
particular the wood block prints of Katsushika Hokusai,
such as the Thirty-Six Views of Mount Fuji, had aprofound impact on Western art in the 19th century andallowed the form of Fujisan to become widely known as
the symbol of ‘Oriental’ Japan.

In terms of spiritual integrity, the pressure from verylarge numbers of pilgrims in two summer months, andthe infrastructure that supports them in terms of huts,
tractor paths to supply the huts and large barriers toprotect the paths from falling stones, works against thespiritual atmosphere of the mountain. The Fuji Five
Lakes (Fujigoko), and especially the two larger lakes –Lake Yamanakako and Lake Kawaguchiko, face
increasing pressure from tourism and development, andthe springs and ponds also face threats from low-risedevelopment.

The serial property consists of the top zone of themountain, and spread out around its lower slopes
shrines, lodging houses and a group of revered natural
phenomena consisting of springs, a waterfall, and lava
tree moulds, which together form an exceptional
testimony to the religious veneration of Fujisan, andencompass enough of its majestic form to reflect the way
its beauty as depicted by artists had such a profoundinfluence on the development of Western art.

Authenticity
In terms of the ability of the series as a whole to convey
its spiritual and aesthetic value, currently this is limited inrelation to the way individual sites project their meaning
in relation to each other, and to the whole mountain. The
component parts need to be better integrated into thewhole, with the relationship between shrines, andlodging houses and the pilgrim routes being clearly set
out.

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 fromancient times to the present day. Through worshipascents of its peaks and pilgrimages to sacred sitesaround its lower slopes, pilgrims aspired to be imbued
with the spiritual powers possessed by the gods andbuddhas believed to reside there. These religious
associations were linked to a deep adoration of Fujisanthat inspired countless works of art depicting what wasseen as its perfect form, gratitude for its bounty, and a
tradition that emphasised co-existence with the naturalenvironment. The series of sites are an exceptional
testimony to a living cultural tradition centred on theveneration of Fujisan and its almost perfect form.

In terms of the authenticity of individual sites, thephysical attributes relating to the upper routes, shrines
and lodging houses are intact. The renewal of shrines ona periodic basis is a living tradition. The Ise Shrine isrenewed on a 20-year cycle while some shrines (or partsof some shrines) associated with Fujisan are renewed
on a 60-year cycle. This means their authenticity rest on
their siting, design, materials and function as well as on
the age of their component parts. However the locationand setting of some of the component parts, such as
between the five lakes, ponds and waterfall, iscompromised by development that interferes with theirinter-visibility.

Criterion (vi): Images of Fujisan as a solitary stratovolcano, rising above lakes and sea, have been a font ofinspiration for poetry, prose and works of art sinceancient times. In particular the images of Fujisan in early
19th-century Ukiyo-e prints by Katsushika Hokusai and137

Management and protection requirements

The property is subject to conflicting needs between
access and recreation on the one hand and maintaining
spiritual and aesthetic qualities on the other hand. A‘vision’ for the property will be adopted by the end of2014 that will set out approaches to address thisnecessary fusion and to show how the overall series canbe managed in a way that draws together the
relationships between the components and stresses
their links with the mountain. This vision will then overarch the way the property is managed as a culturallandscape and inform the revision of the Management
Plan by around the end of 2016.

Various parts of the property have been officiallydesignated as an Important Cultural Property, a Special
Place of Scenic Beauty, a Special Natural Monument, aHistoric Site, a Place of Scenic Beauty, and a Natural
Monument, in addition to it being designated as a
National Park. The overall landscape of the summit isprotected as part of the Fuji-Hakone National Park andthis includes the lava tree molds and Lakes
Yamanakako and Lake Kawaguchiko. Most component
sites, including the ascending routes, shrines and lakes
within the summit, have been given national protection
as important cultural properties, historic sites or placesof scenic beauty – within the last two years. The
Murayama and Fuji Sengen-jinja Shrines and the Oshino
Hakkai springs were protected in September 2012.

An overall conservation approach is needed for theupper routes and for the associated mountain huts inorder to stabilize the paths, manage the erosion causedby visitors and water, and manage delivery of supplies
and energy.

For the buffer zone protection is provided by theLandscape Act and Guidelines for Land Use Projects(and related legislation). All component parts and thebuffer zones are planned to be covered by LandscapePlans around 2016. These provide the framework within
which Municipalities undertake development control.

The Fujisan World Cultural Heritage Council is planningto complete the development of a Visitor Management
Strategy and adopt it by the end of 2014. This is needed
as a basis for decisions on carrying capacities for theheavily used upper routes, parking, service buildings andvisual clutter, but also on how visitors may perceive thecoherence of the sites and their associations. This isparticularly crucial for the sites in the lower parts of themountain where their relationship with the pilgrim routes
is unclear. An Interpretation Strategy will be adopted
around the end of 2014.

What needs strengthening is how these various measure
in practice control the scale and location of buildings thatmight impact on the sites. In principle they relate to theneed for harmonious development (in colour, design,form, height, materials and sometimes scale). However,the strictest controls seem to relate primarily to colour
and height. There is a need to control more tightly thescale of buildings, as well as the location of buildings,
especially the siting of buildings, including hotels, on thelower flanks of mountains.

Additional recommendations
ICOMOS recommends that the State Party giveconsideration to the following:

The two prefectures, Yamanashi and Shizuoka with
relevant municipal governments have established the
Fujisan World Cultural Heritage Council to create acomprehensive management system for the property.
These bodies also work in close cooperation with themain relevant national agencies that are the Agency for
Cultural Affairs, which is the competent authority
charged with preserving and managing Japan’s cultural
heritage properties, the Ministry of the Environment andthe Forest Agency. This Council is also receiving input
from an academic committee of experts for thesurveying, preservation and management of Fujisan.

Operationalizing the management system in order tomanage the property as an entity and as a culturallandscape with respect to the following:o Put in place an overall vision for the property
related to its conflicting needs to offer accessand recreation and to maintain spiritual andaesthetic qualities;
o Delineate the pilgrim routes on the lower
slopes of the mountain in relation to the shrines
and lodging sites and to their links to the upper
ascent routes, and consider how these might
be perceived and understood;o Develop a visitor management strategy basedon researched carrying capacities for the upper
access routes;
o Develop an overall conservation approach forthe upper access routes and their associatedhuts and tractor routes;
o Develop an interpretation strategy that informs
how each of the individual sites can beappreciated and understood as part of theoverall property and of the overall pilgrimage
routes around both the upper and lower slopesof the mountain, in order to guide thedevelopmentofvisitorcentres
andinterpretation at individual sites;

The Fujisan Comprehensive Preservation andManagement Plan was established in January 2012, tocoordinate the actions of all parties, including local
residents. The plan lays out not only methods for thepreservation, management, maintenance, and utilizationof the property overall but also for each individualcomponent site and also sets out the respective roles
that the national and local public bodies and otherrelevant organizations should play. In addition there arepark plans under the Natural Parks Law and the National
Forest Law that provide measures for the managementof the visual landscape from important viewpoints.

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o Strengthen the monitoring indicators to reflectspiritual and aesthetic aspects of thelandscape.
Amplifying the name of the property to allow it toreflect its sacred and artistic associations.

Given the considerable complexity of the managementof this property, and the need to develop supplementary
management and conservation strategies and revise themanagement plan to reflect a cultural landscapeapproach, ICOMOS recommends that the State Party
submit a State of Conservation Report to the World
Heritage Centre by the 1st February 2016 in order toprovide progress with the development of an overall
vision for the property, a tourism strategy, a conservation
approach for the access routes, an Interpretation
strategy, a risk management strategy and with theoverall revision of the management plan to reflect acultural landscape approach and to be examined by theWorld Heritage Committee at its 40th session in 2016.
ICOMOS would be ready and willing to offer advice if
requested on these approaches.

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Map showing the boundaries of the nominated properties

Aerial view of Fujisan from north

Yoshida ascending routeFujisan Hongu Sengen Taisha Shrine“Oshi” Lodging House (Former House of the Togawa Family)View of Fujisan from Lake Yamanakako

Oshino Hakkai springs (Wakuike Pond)