This paper will consider how cultural continuity operates in Japan. In English, there is the expression 'grandfather's axe'; this means something that purports to exist from the past, but in fact does not, or rather, which exists as an idea not an object. The expression in full is: 'this is my grandfather's axe; my father replaced the shaft and I replaced the head'. Of course, this means that nothing of grandfather's actual axe really remains at all. But it remains 'his' axe as a concept. More formally, this same idea can be referred to as the 'apostolic succession', which is used to explain how the Church has maintained its authority. Christ nominated the Apostles, who then in turn nominated their successors, and so in each generation, legitimating then by placing their hands on their follower's head. This continues into the present, via bishops, so that there is a 'laying on of hands' that goes right back to Christ. Apostolic Succession is rather theoretical; grandfather's axe is the more colloquial rendering of the same thing.
  I have sometimes found this notion useful for thinking about Japan. It is of course well known that in Japan monuments and buildings often had to be remade, because of earthquake, fire or warfare, or just because they are made of wood which rots away. I will discuss this using the specific case of Uji Bridge. The bridge dates back to very ancient times, and indeed his still there today. But what, exactly is Uji Bridge? The site is an utamakura. How can later bridges recall the ancient one seen by the poets? And how should a picture represent Uji Bridge?
  My paper will attempt to offer thoughts on the continuity of cultural monuments in Japan, concentrating on the Edo Period.