Kato Gosuke

May 23, 2016, 6:15 pm

加藤五輔（一八三七－一九一五年）(1837 - 1915)
は名工として誉れ高く、多治見の市之倉にあった五輔の窯は、染め付けの細密画という、髪の毛よりも細い線を多用した絵付けを得意としていた。曲面をなす磁器の素地に描いていくのであるから、並大抵のことではないが、その絵をみると、動物も植物も、繊細な筆致によって生き生きとした表情に仕上がっている。

むろん海外での評価が高く、明治九（一八七六）年にフィラデルフィア万国博覧会に出品された作品は、現在、イギリス屈指の名門、ヴィクトリア・アンド・アルバート美術館に収蔵されている。また、同十一（一八七八）年のパリ万博では銅賞を受けて、その地位を確固たるものとした。当時はジャポニスムの全盛期であり、細やかな絵付けをみた欧米人たちの感嘆の声が聞こえてきそうである。
- reference : ss-info.com/contents/chunichi -

Mino ceramic artist from Gifu.

Mino ware, Japan made 1875

The glassy quality of the glaze and the vibrant hue of the blue found on this cup and saucer are typical of late nineteenth-century porcelains from Mino, which is located to the northeast of Nagoya in central Japan.
Kato Gosuke was a renowned painter of birds and flowers who went on to win several awards at the 1878 Paris Exposition Universelle. The cup and saucer were part of a group of over 200 ceramics bought on behalf of the V&A by the Japanese Exposition commissioners with funds provided by Philip Cunliffe-Owen, an ardent Japanophile who was director of the V&A from 1874 to 1893. The instructions sent to the commissioners were that they should ‘make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.’
- source : collections.vam.ac.uk -

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- - - - - His artwork at

- source : google search

- source : yahoo search

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- quote -
His artwork at Yahata Kumano Shrine Ichinokura
It’s not a big place, and very old, but it is quiet there and just a quick walk down the hill from our house. And like so many old Shinto shrines, it has its art treasures…but you have to look for them. In this case, the ceiling of a small, auxiliary building is where you can find the treasures…

treasures more than 150 years old, some by our local National Art Treasure, Kato Gosuke IV (1839–1905) and all by local artists who long ago lived in Ichinokura and who have passed on . All one has to do is walk up the time-worn wooden stairs and look up. Some of the paintings are so old that they have faded them almost beyond recognition, but if you look closely. . .

- source : Thanks to Aoi and Hayato on facebook -

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- Reference - 加藤五輔 -
- reference : Kato Gosuke mino -

. Gifu Folk Art - 岐阜県　 .

. Introducing Japanese Haiku Poets .

- - - #katogosuke #gosukekato - - -
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Join the friends on facebook !

. - - - PERSONS - ABC - LIST of this BLOG - - - .

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]

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↧

Poets about Japan

May 27, 2016, 5:29 pm

≫ Next: Daidozan Bungoro Sumo

≪ Previous: Kato Gosuke

- source with hyperlinks : themargins.net/anth/19thc -

edited by Irene De Angelis

Terms of Use:
Materials in Emerging from Absence: An Archive of Japan in English-Language Verse are made accessible for non-profit educational and research purposes only.
Themargins.net makes no warranty with regard to their use for any other purpose.

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- - - - - Acknowledgments
My first debt in bringing together this archive is to those who have granted permission to include work in it, who without payment beyond a notice of titles in print have so generously supported the project. I am indebted also to those who have called my attention to work that has found its way here, particularly to Paul Rossiter, who has filled in many gaps in my knowledge, and to the late Richard Caddel, who after one accidental meeting and one following e-mail posted queries, forwarded responses, and brought me up to date.

The archive also has benefited from the various kindnesses of Emiko Kuroda, Peter Makin, the late Shigeo Tobita, and Scott Watson, and would not have been possible without the courtesy of the Department of English and the excellence of the staff of the University Library at Indiana University, Bloomington.

Infelicities, of course, are mine.
David Ewick, April, 2004

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A Dream of Bric-a-Brac: The Nineteenth Century

Louisa Stuart Costello • Supposed to be Sung by the Wife of a Japanese Who Had Been Taken by the Russians to Their Country, 1825

Alexander Rodger • The Devil’s Visit to the Islands of Japan, 1838

C. H. W. • An Ode to the Japanese, 1860

Walt Whitman • The Errand-Bearers, 1860

Anonymous • Society in Japan, 1867

Horace Russell and William Greene • The Japanese Lovers, ca. 1870

Oliver Wendell Holmes • At the Banquet to the Japanese Embassy, 1872

R. H. Horne • Ode to the Mikado of Japan, 1873

Margaret Veley • A Japanese Fan, 1876

Henry Wadsworth Longfellow • from Kéramos, 1878

W. S. Gilbert • Two Songs from The Mikado, 1885

William Struthers • The Rejected Japanese Lover, 1887

W. E. Henley • Ballade of a Toyokuni Colour Print, 1888

John Hay • A Dream of Bric-a-Brac, 1890

Anonymous • The Japanese Doll, ca. 1890

Louis Belrose, Jr. • A Japanese Sword, 1891

Rudyard Kipling • Buddha at Kamakura, 1892

Edwin Arnold • Fuji-yama, 1892

Edwin Arnold • The Musmee, 1892

Oliver Herford • Japanesque, ca. 1893

. Ernest Fenollosa • Sonnet: Fuji at Sunrise, 1893 .

Mary McNeill Scott (Mary McNeill Fenollosa) • To a Portrait of a Japanese Princess, 1894

Mary Stockton Hunter • A Japanese Sword Song, 1895

Mrs. Merrill E. Gates • Japanese War Song, 1895

Mae St. John Bramhall • The Japanese “Good-Day,” 1897

Margaret A. Brooks • Japan, the Youngest Born, 1899

Aldis Dunbar • Japaneseque, 1900

Edgar Fawcett • The Yellow Danger, 1900

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Haunted in Old Japan: 1901~1909

And the Great Gate Swings: 1910~1919

What Was Hidden in Twilight Before: 1920~1929

The Heart of Standing: 1930~1939

The Thin Shell of Night: 1940~1949

The Aesthetic Point: 1950~1959

The Heart’s Garden: 1960~1969

Preparing the Past: 1970~1979

The Ache of Distance: 1980~1989

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Lost Objects: 1990~1999

Peter Robinson - Deep North (1993)

‘What silence
penetrating rock
the voice of the cicada’

Matsuo Bashô

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In Spaces Between East and West: 2000~

- source with hyperlinks : themargins.net/anth/19thc -

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. Introducing Japanese Haiku Poets .

- - - #poetsaboutjapan - - -
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↧

Daidozan Bungoro Sumo

June 21, 2016, 10:43 pm

≫ Next: Kamada Matahachi Kamata

≪ Previous: Poets about Japan

source : ameblo.jp/giantlimited/entry

碁盤上げ Goban age
写楽　Sharaku

A young Sumo wrestler, Bungoro, is using a wooden Go board to fan out the candle.
This was a new amusement for the people of Edo.

. wa roosoku　和蝋燭 Japanese candles .

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- quote -
The Great Child Mountain
Daidozan Bungoro, the Great Child Mountain, who at the age of seven stood a fairly modest 3'10", but weighed a staggering 183 pounds, was a popular figure in 1795. Wrestling fans enjoyed Daidozan’s performances. To the excitement of the fans, the ‘Yobidashi’, announcer, would sing a delightful chant calling Daidozan into the ring. Daidozan would perform his ceremonial ritual. Then the ‘Gyoji’, referee, would signal Daidozan to begin. The little butterball would perform all of the Sumo wrestler methods of ‘tuki’, thrusting, ‘yori’, clinching, and ‘oshi’, pushing. After the exhibition, his fame would spread into other areas of Japanese culture.
An example, is a woodblock print showing Daidozan drinking sake and being offered tea by the famous beauty and teahouse waitress Okita of the Naniwaya and biscuits by her rival Ohisa of the Takashimaya.

This stamp is the fifth of 5 single issues that commemorates Sumo champions.
The fifth single-issue stamp commemorates the Daidozan, Great Child Mountain, in Ring-entry Ceremony.

Daidozan was not the only child prodigy to appear as a Sumo wrestler. Among his successors were the seven year old, Jintsuriki, weighing 174 pounds. In 1836, an eight year-old called Oniwaka who weighed in at 156 pounds. In 1859, Maizuru Komakichi, at the age of eight, who displayed his 218 pound frame to the wrestling fans at the Eko-in. Wrestling fans have enjoyed these performances. In addition, the exhibitions of adult wrestler giants were frequently done side by side with the child prodigy for the enjoyment of the fans. This presentation would reveal the uniqueness of the body of both wrestlers. The adult wrestlers who appeared with these prodigies were also prized above all for their size. These wrestlers would give a collectible artifact of a hand-print, impressed in either ink or cinnabar, to their admirers. These desirable artifacts, given to the admirers, are used as comparisons of the span that their puny hands have over the massive ones of the adult and prodigy wrestler.

In woodblock prints, both child and adult wrestlers were treated quite differently from other subjects, and always in a way to accentuate their size. What the wrestler prints displayed was the bulk and phenomenal strength. These qualities emerge most clearly in portraits of individual wrestlers with rippling muscles exaggerated to the point of caricature. In other prints, they are seen to be associated with the delicate fragility of the geisha and the cherry blossom.

Since these prints were all designed for commercial profit, it seems reasonable to assume that in emphasizing their size, the designers were giving the public precisely what it wanted. This is why the wrestlers could spend unlimited time for their stately warmingup exercises. It also explains why a whole day could be spent on ceremonies in which they displayed themselves. Again, giving to the public precisely what it wanted. This is not to say that the wrestling bout was not as desired by the public, but that both are equally important.

- - - - - A Synopsis of the Artist
... Saito Jurobei, pseudonym Toshusai Sharaku....
- source : Do You Know This Stamp.com, Inc -

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- quote
Daidozan Bungoro
Highest Rank - - Maegashira 5
Real Name - - BUNGORO Shiono
Birth Date - - February 15, 1788
Shusshin - - Yamagata-ken, Higashine-shi
Death Date - - December 20, 1822 (34 years)
Height and Weight - - 159 cm 169 kg
Heya - - Isenoumi
Shikona - - Daidozan Bungoro
Hatsu Dohyo - - 1794.11 (Maegashira)
Intai - Retirement - - 1813.01
- source : sumodb.sumogames.de/Rikishi -

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Sumô Wrestlers Tanikaze and Daidôzan Bungorô

Utagawa Toyokuni I

Lifting a money box
. Senryobako　千両箱 money box .

Daidôzan Bungorô, Boy Wrestler, Age Seven
Katsukawa Shun'ei

Wrestlers and Umpires Contemplating the Child Wonder Daidozan Bungoro
Toshusai Sharaku

- More ukiyo-e prints of Bungoro　浮世絵
- reference : ukiyo-e.org/search -

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- Reference - 大童山文五郎 -
- Reference - Daidozan Bungoro -

. Welcome to Edo 江戸 ! .

- - - #daidozanbungoro #bungorosumo - - -
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↧

Kamada Matahachi Kamata

July 19, 2016, 9:21 pm

≫ Next: Buddhist Priests List

≪ Previous: Daidozan Bungoro Sumo

source : museums.fivecolleges.edu/detai
Katsushika Hokusa　葛飾北斎

Kamada Matahachi Chikara [Kamada Matahachi (has) strength]
鎌田又八ちから
from the book Ehon Wakan Homare [Picture Book of Noted Japanese and Chinese (Heroes)]

A vertical print of a half-naked man sitting on the floor with a box to his right and a pipe container and a small box to his left. Grabing his left leg with his left hand and smoking a kiseru pipe, he inserts a brush in his sandal and uses it to write inscriptions to the left. The expert brushman, Kamata Matahachi, demonstrates his deftness with the brush. He is seated smoking a kiseru pipe, a brush is inserted in his sandal.

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Here Matahachi is shown killing a monstrous nekomata cat in the mountains of Ise Province.

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Utagawa Kuniyoshi 歌川邦芳

Kamada Matahachi of Matsuzaka fighting off wolves with a huge iron bar in the Ashigara Mountains of Izu

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Sadashige aratame Kuniteru 貞重改国輝

The immensely strong man Kamata Matahachi lifts up a huge temple pillar to put his sandal under it, in order to demonstrate his strength. A flock of disturbed pigeons fly up in front of the temple altar.
This scene happened in Karuizawa.

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source : artic.edu/aic/collections/artwork
Torii Kiyonobu I　鳥居清信

The Actors 市川団十郎 Ichikawa Danjuro II as Kamada Matahachi and
市川門之助 Ichikawa Monnosuke I as 久松 Hisamatsu
in the play "Osome Hisamatsu Shinju Tamoto no Shirashibori,"
performed at the Morita Theater, 1720, 1720

Osome Hisamatsu tamoto no chirachibori (Story of Osome and Hisamatsu, 1711)
A play written by Ki no Kaion.

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Utagawa KUNISADA

- quote -
The ghost of Kamata Matahachi
This print represents a scene from the kabuki play True record of the famous song for hand-balls, which was performed in the Nakamura Theatre in the seventh month of 1855.

The tragedy of the play concerns the Mari family. Mari Yashiro made love to his brother's widow, who had become a nun after her husband's death. When his wrong-doing came to be known to his servant Kamata Matahachi and his dead brother's concubine Kikuno, Yashiro had them both killed.

In this print, Kamata Matahachi and Kikuno appear as ghosts tied facing in opposite directions, accompanied by their spirit fires. Both are identified by the inscriptions in the cartouches.
The print is signed 'Toyokuni', the name of his teacher who Kunisada had adopted in 1844.
- source : ngv.vic.gov.au/ngvschools -

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source : ukiyo-e.org/image/mfa/sc

Actors Ichikawa Kodanji IV as Marino Kanemitsu (R),
Ichikawa Kodanji IV as Ghost of Kamada Matahachi (Kamada Matahachi bôrei) and
Ghost of Kikuno (Kikuno ga bôrei) (C),
Iwai Kumesaburô III as the Nun Kyôdai (L)

- quote -
OSOME NO NANAYAKU - "Osome's seven roles"
Osome Hisamatsu Ukina no Yomiuri
Act I, scene 1: within the precincts of the Myôken Shrine in Yanagishima
Act I, scene 2: the zashiki of the Hashimotoya
Act I, scene 3: the Koume Tobacco Shop
Act II, scene 1: at the Aburaya in Kawara-machi
Act II, scene 2: on the 2nd floor behind the Aburaya in Kawara-machi
Act III, scene 1: the michiyuki at Mukôjima
- Read the full text here:
- source : kabuki21.com/osome_no_nanayaku-

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. yookai, yōkai 妖怪 Yokai monsters .

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- reference - 鎌田又八 -
- reference : 梅鎌田大力巷説 -
- Reference - kamada matahachi -
- reference - kamata matahachi -

. Join the Ukiyo-E friends on facebook ! .

- - - #kamadamatahachi #kikuno - - -
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↧

Buddhist Priests List

July 29, 2016, 6:59 pm

≫ Next: Chiyo no Fuji

≪ Previous: Kamada Matahachi Kamata

日本の名僧・高僧 88人

Many of them already have their own page. Check the ABC-List of this BLOG.
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Abutsu ni 阿仏尼　あぶつに Abutsu-Ni　（？ - 1283)

Ankokuji Ekei 安国寺恵瓊 (1539 – 1600)

Baisan Monpon 梅山聞本 (?- 1417)

Bankei Yōtaku 盤珪永琢 Yotaku (1622 - 1693)

Banna　鑁阿ばんな　(1144 - 1199) (262)

Benkei, Musashibō Benkei 武蔵坊弁慶 Benkei (1155–1189)

Chōgen, Choogen 重源 (1121 - 1206), Chogen, also known as Shunjōbō Chōgen 俊乗坊重源

Doogen 道元　どうげん　Dogen （1200 - 1253）

Dookyoo 道鏡　どうきょう Dokyo (? - 772)

Dooshoo 道昭　どうしょう Dosho (629 - 700)

Eji 恵慈えじ Eji （？～623？), Korean: Hyeja 　
He was a tutor of Buddhism to Shōtoku Taishi.

Eikan 永観　えいかん Eikan (1032 - 1111)

Eisai (Yoosai) 栄西　Eisai 1141 - 1215）

Eizan Shookin 瑩山紹瑾 Eizan Shokin (1268 - 1325)

Eizon 叡尊　えいぞん Eizon (1201 - 1290)

Enchin 円珍　えんちん Enchin (814 - 891)

Enkan 円観　えんかん Enkan　（1281 - 1356）

Enkuu, Enkū 円空 Enku (1632 – 1695)

Enni 円爾　えんに　Enni （1202 - 1280）

Ennin 円仁　えんにん (794 - 864)

En no Ozune, En no Gyoja 役小角　えんのおづね (? seventh century)

Ensai 円載　えんさい (? - 877)

Eshin Ni 恵信尼　えしんに Eshin-Ni （1182 - ?1268）

Ganjin 鑑真　Ganjin / Jianzhen （688 - 763) Chinese monk

Gasan Jōseki, Jooseki 峨山韶碩 Gasan Joseki (1275 – 23 November 1366)

Genboo 玄肪　げんぼう Genbo (? - 746)

Genshin 源信　げんしん Genshin (942 - 1017) (124)

Gidoo Shuushin 義堂周信　ぎどうしゅうしん　Gido Shushin（1325 - 1388）

Gien　義淵（ぎえん） (? - 728) -48

Gudō Toshoku, Gudoo 愚堂東寔 Gudo Toshoku (1577 – 1661)

Gyooki 行基　ぎょうき Gyoki (668 - 749)

Gyooson, Gyōson 行尊 Gyoson (1057 - 1135) (136)

Henjoo 遍昭　へんじょう Henjo (816 - 890)

Hoonen 法然　ほうねん Honen (1133 - 1212)

Hōzōin In'ei, Hoozoo-in 宝蔵院胤栄 Hozoin In-Ei (1521 – October 16, 1607)

Ikkyuu Soojun 一休宗純　Ikkyu Sojun　（1394 － 1481）

Ingen 隠元 Eisai Zenji 栄西禅師　(1141 - 1215)

Ippen 一遍　いっぺん　Ippen （1239 - 1289）

Issan Ichinei 一山一寧　いっさんいちねい Issan（1247 - 1317）

Isshi Monju 一糸文守 Monju (1608 - 1646)

Jakuren 寂蓮　じゃくれん　Jakuren (1139 - 1202)

Jakushin　寂心 Jakushin (? - 1001) (120)

Jien 慈円　じえん Jien (1155 - 1225)

Jitchū, Jitchuu 実忠 Jitchu (? - 824)

Junjoo 俊ジョウ（草冠にイ乃）　しゅんじょう (1166 - 1227)

Juubin 守敏　しゅびん (? around 800)

Juugen 重源　じゅうげん Jugen (1121 - 1206) - see Choogen

Kaisen Jooki 快川紹喜 Kaisen Joki (? - 1582) (268)

Kakuban 覚鑁　かくばん Kakuban (1095 - 1143)

Kakunyo 覚如　かくにょ　Kakunyo （1270 - 1351）

Kakushin Ni 覚信尼　かくしんに　Kakushin Ni （1224 - 1283）

Kakuyuu 覚猷　かくゆう　 Kakuyu (1053 - 1140) (鳥羽僧正 Toba Sojo)

Kangan Giin 寒巌義尹 Kangan (1217–1300)

Kanjoo 寛朝　かんじょう Kanjo (?916 - 998)

Keichuu 慶中 Keichu (1640 - 1701)
(published Man’yō daishōki)
- quote -
a commentary to the Nara-period poetry collection Man’yōshū (Collection of Ten Thousand Leaves, mid-8th c.).
Keichū’s aim in writing this work was to reconstruct as closely as possible the original meaning of the text by looking at a wide range of contemporary and near-contemporary sources. Within the work, Keichū discusses the basic principles of his approach to the study of the past, which can be summarized as follows:

Reconstruct the contemporary meaning of the work and avoid at all costs any interference from the modern reader’s expectations and beliefs.
Make use only of sources from the same time period or thereabouts.
Do not take for granted the theories contained in later commentaries, including traditionally authoritative ones, because they may not be accurate or not apply directly to the age of the Man’yōshū.

Keichū applied these principles not only to the Man’yōshū, but also to the Kokinshū and other important works of the past. Through his method he made a number of important breakthroughs that forever changed the face of scholarship on the classics.

Although Keichū’s method may seem obvious today, no one before him had used such a rigorous philological approach in waka studies. Traditionally, waka scholars studied under a master and the emphasis was on amassing the transmitted teachings of one’s school or “house” (ie) rather than on textual study. Keichū never studied under a specific master, and so was never bound by a master-disciple type of relationship. Even more important was the boom of book publishing, which enabled Keichū to obtain the texts he needed for his research with ease. As sources for his commentary to the Man’yōshū, Keichū names the Nihon shoki (Chronicles of Japan, 720), the Kaifūsō (Collection of Fond Recollections, 751), the Shoku Nihongi (Later Chronicles of Japan, 797), the Kogo shūi (Gleanings of Ancient Words, 807), the Shinsen Man’yōshū (Newly Edited Man’yōshū, 894), and the Wamyō ruijūshō (Japanese Words by Category, ca. 938), all of which were written between the 8th and 10th centuries, and all of which were available in print when Keichū wrote Man’yō daishōki in 1683. None of them had ever been printed prior to the late 17th century, so it can be said that Keichū’s text-based scholarship would have been impossible in earlier periods. That Keichū’s approach relied heavily on printed editions of the texts he studied can be seen from the many notes and comments that he personally wrote on his own printed editions of the classics. Keio University Library owns one such book (Fig.2).
- source : futurelearn.com/courses -

Kanzan Egen 開山慧玄　かんざんえげん　Kanzan（1277 - 1360）

Kenkai 兼海 Kenkai (1107 - 11 June 1155)

Kennyo 顕如 Kennyo (1543 - 1592) (276)

Kinkoku Shoonin 金谷上人　Saint Kinkoku Shonin (1761 - 1832) (316)

Kokan Shiren 虎関師錬　こかんしれん　Kokan（1278 - 1346）

Kokei / Kogei 皇慶 (?977 – 1049)

Kooen 皇円　こうえん Koen (? - ?1169)

Koogon 光厳法皇　こうごんほうおう　Kogon Ho-O（1313 - 1364）

Kōsai, Koosai 幸西 Kosai (1163 – May 20, 1247)

Koun Ejō 孤雲懐奘 Ko-Un (1198 - 1280)

Kuukai 空海　弘法大師 Kukai Kobo Daishi (774 - 835)

Kuuya 空也　くうや Kuya (903 - 972)

Kyoonyo 教如 Kyonyo (1558 - 1614)

Mansai 満済　Mansai (1378 - 1435) (246)

Minchuu 明兆　みんちょう Minchu　（1351 - 1431）　

Mokujiki 木喰 Mokujiki (1718 - 1810)

Mokujiki Oogo　木食応其 Mokujiki Ogo (1536 - 1608) (270)

Mongaku 文覚　もんがく Mongaku (?1193 - ?1205)

Monkan 文観　もんかん　Monkan （1278　-　1357）

Mugaku Sogen 無学祖元　むがくそげん　Mugaku（1226 - 1286）

Mujū Dōkyō, Mujuu Dookyoo 無住道曉 Muji Dokyo (1 January 1227 - 9 November 1312)

Musoo Soseki 無窓疎石　むそうそせき　Muso （1275 - 1351）

Myooe, Myōe 明恵　みょうえ Myoe, Myo-E (1173 - 1232)

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. boozu　坊主 priest, お坊さん　O-Bo-San .

oshoo 和尚　priest
nyuudoo 入道　Nyudo priest
shoonin, shônin 上人 saint, head priest of a temple
daitoko 大徳（だいとこ）daitoku だいとく priest of high standard
soojoo. sôjô 僧正 high-ranking priest, "archbishop"
meisoo 名僧 famous priest / monk
koosoo 高僧 high-ranking priest

Photo by Tamamura Kōzaburō (1856 - 1923)

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- - - many priests with names starting with NICHI belong to the Nichiren sect - - -

Nichigen, Buzen Nichigen 豊前日源 (?1263 – 1315)

Nichiji 日持 (Kaiko) (February 10, 1250 – ?1304)

Nichijin 日陣 Nichijin (May 30, 1339 - June 14, 1419)

Nichiken, Awaji Nichiken(淡路日賢 (1243–1338)

Nichimoku 日目 Nichimoku (1260 – 1333)

Nichiō, Nichioo 日奥 Nichio, NichiO (1565 – 1630)

Nichiren 日蓮　にちれん Nichiren　（1222 - 1282）

Nichiroo, Nichirō 日朗　にちろう Nichiro （1243 - 1320）

Nichizoo, Nichizō 日像　にちぞう　Nichizo（1269 - 1342）

Nikkō, Nikkoo 日興 Nikko (1246 –1333)

Nikoo, Minbu Nikō 民部日向 Mibu Niko (1253 - 1314)

Ninshoo 忍性　にんしょう Ninsho (1217 - 1303)

Nisshin 日親　にっしん　Nisshin（1407 - 1488）

Nisshō, Nisshoo 日昭 Nissho, (?1221 – 1323)

Nitchō, Nitchoo 日頂 Nitcho (1252 – April 19, 1317)

Noonin, Dainichibō Nōnin 大日房能忍 Nonin ( ? 1190)

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Raigoo 頼豪らいごう Raigo (1002 - 1084)

Rankei Dooryuu 蘭渓道隆　らんけいどうりゅう　Raikei Doryu （1213 - 1278）

Rennyo 蓮如　れんにょ　Rennyo （1415 - 1499）

Rensei / Renshoo 蓮生　れんせい・れんじょう　 Rensho / Renjo (1141 - 1208)

Rooben, Rōben 良弁　ろうべん Roben (689 - 773)

Ryoogen 良源　りょうげん Ryogen (912 - 985) (116)

Ryoonin 良忍　りょうにん Ryonin (1073 - 1132)

Saichoo, Saichō 最澄　伝教大師 Saicho (767 - 822)

Saigyoo 西行　さいぎょう Saigyo (1118 - 1190)

Sakuden 策伝 Sakuden (1554 - 1641)

Sengaku 仙覚 Sengaku (?1203 - 1273)

Sesson Shuukei 雪村周継　Sesson (1504 - 1589)

Sesshuu 雪舟等楊　せっしゅうとうよう Sesshu Toyo （1420 - 1506）

Setouchi Jakuchō, Jakuchoo 瀬戸内寂聴 Setouchi Jakucho (May 15, 1922 - )

Shinnyo 真如　しんにょ Shinnyo 親王 (799 - 865) (132)

Shinran 親鸞　しんらん Shinran (1173 - 1262)

Shinshō, Shinshoo 真紹 Shinsho (797 – 873)

Shooboo 聖宝しょうぼう Shobo (832 - 909)

Shoodoo 勝道　しょうどう　 Shodo (735 - 817)

Shōkū, Shookuu 証空 Shoku (1177 - 1247), Seizan 西山

Shunkan 俊寛 Shunkan (c. 1143 – 1179)

Shunoku myooha 春屋妙葩　しゅんおくみょうは　Shunoku Myoha（1311 - 1388）

soohei, sōhei 僧兵 Sohei, lit. "monk warriors", fighting monks

Suuden, Konchi-In Suuden 金地院崇伝 / Ishin Sūden 以心崇伝（1569 - 1633）

Suzuki Shosan 鈴木正三 Shosan (1579 - 1655) (288)

Suzuki Shunryū, Shunryuu 鈴木俊隆 Suzuki Shunryu (1904 - 1971) Zen

Taichō, Taichoo 泰澄 Taicho (July 20, 682 – April 20, 767)

Taigen Suufu 太原崇孚, 太原雪斎 Taigen Sessai (1469 - 1555) (266)

Taihan 泰範 (?817 )　disciple of Kukai (96)

Takuan, Takuan Sōhō 沢庵宗彭 Takuan Soho (1573 – 1645)

Tenkai 天海 Tenkai (1536 – 1643) / Nankōbō Tenkai 南光坊天海

Tettsū Gikai, Tettsu 徹通義介 Tetsu Gikai (1219 - 1309)

Tokuitsu 徳一 Tokuichi (781? - 842?)

Uda Hoo-oo 宇多法皇　うだほうおう Uda Ho-O (879 - 931)

Yasutani Hakuun 安谷白雲 (1885 - 1973) Kamakura Zendo

Yootaku, Bankei Yōtaku 盤珪永琢 Yotaku (1622 - 1693)

Yuien　唯円 Yuien,Yui-En (1222 - 1289)　

Yuukai 宥快　Yukai (1345 - 1416)

Zekkai Chuushin 絶海中津　ぜっかいちゅうしん　Sekkai Chushin（1336 - 1405）

Zenjin ni 善信尼　ぜんしんに Zenjin-Ni (? sixth century)

Zenran 善鸞　Zenran (1217 - 1286)

Zooga、Sooga　増賀　Zoga, Soga (917 - 1003) (122)

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知っておきたい日本の名僧 / 瓜生中 Uryu Naka

日本名僧列伝 / 柏原祐泉 (編集), 薗田香融 (編集)

事典日本の名僧 / 今泉淑夫 (編集)
180人の僧を没年順に収載した

名僧でたどる日本の仏教 / 末木文美士

名僧１００人
- reference : ne.jp/asahi/kiwameru/kyo -

more books about 日本の名僧 - 16 pages
日本名僧辞典 1976
日本をつくった名僧一〇〇人
日本の名僧入門―日本人の心を創りあげた二十人の素顔と生きざま
- source : www.amazon.co.jp -

List with books about the priests
- reference : yoshikawa-k.co.jp-

"Japanese Buddhist monks" - ABC-list
- - - More in the WIKIPEDIA !

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↧

Chiyo no Fuji

July 30, 2016, 1:52 pm

≫ Next: Keichu Priest

≪ Previous: Buddhist Priests List

- quote
Chiyonofuji Mitsugu 千代の富士貢
Mitsugu Akimoto (秋元貢 Akimoto Mitsugu), was a Japanese champion sumo wrestler and the 58th yokozuna of the sport. He was the stable master of Kokonoe stable.

Chiyonofuji was one of the greatest yokozuna of recent times, winning 31 yusho or tournament championships, second at the time only to Taihō. He was particularly remarkable for his longevity in sumo's top rank, which he held for a period of ten years from 1981 to 1991. Promoted at the age of twenty-six after winning his second championship, he seemed only to improve with age and won more tournaments in his thirties than any other wrestler, finally retiring in May 1991 just short of his thirty-sixth birthday. This is in contrast to most recent yokozuna who have tended to retire around 30.

During his 21-year professional career Chiyonofuji set records for most career victories (1045) and most wins in the top makuuchi division (807). This caused him to be listed by Guinness World Records Both of these records were later broken by Kaiō Hiroyuki.

He won the Kyushu tournament, one of the six annual honbasho, a record eight consecutive years from 1981 until 1988, and also set the record for the longest postwar run of consecutive wins (53 bouts in 1988). That record stood for 22 years until Hakuhō broke it with his 54th straight win in September 2010.

In a sport where weight is often regarded as vital, Chiyonofuji was quite light at around 120 kg (260 lb). He relied on superior technique and muscle to defeat opponents. He was the lightest yokozuna since Tochinoumi in the 1960s. Upon his retirement he became an elder of the Japan Sumo Association under the name
Kokonoe Oyakata 九重親方.

Kokonoe underwent surgery for pancreatic cancer in July of 2015, and was noticeably weak when speaking to reporters at the Aki basho in September of that year. Having reportedly told associates that the cancer had spread to his heart and lungs, he had been hospitalized since the fourth day of the Nagoya tournament in 2016.
He died in Tokyo on July 31, 2016 at the age of 61.
©　More in the WIKIPEDIA !

Chiyo no Fuji
the long-time hero of all
Chiyo no Fuji

. Sumo wrestling 相撲 .
sumo wrestler, sumotoori 相撲取（すもうとり）

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His Kanreki dohyō-iri. One of only 10 performed ever.
九重親方（第58代横綱) - 還暦土俵入り！
- source : youtube.com -

- Reference - 千代の富士 -
- Reference - chiyo no fuji-

- - - #chiyonofuji - - -
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↧

Keichu Priest

August 1, 2016, 6:04 pm

≫ Next: Yukawa Shodo

≪ Previous: Chiyo no Fuji

However, he disliked the worldly duties of his work and, after wandering around the Kinki region for a while, made his way back to Mount Kōya. Deeply influenced by the thinking of Kūkai, he also read widely in the Japanese classics under the patronage of Fuseya Shigeta (伏屋重賢), a patron of the arts in Izumi Province. After serving as chief priest at Myōhōji, Keichū spent his last years at Enju’an in Kōzu in the Province of Settsu.

His prolific works set a new standard in the study of the classics, though building on recent revivals of interest in the subject. When the daimyo of Mito, Tokugawa Mitsukuni, decided to sponsor an edition of the Man'yōshū, he commissioned Shimonokōbe Chōryū, heir to the learning of the great poet and Man’yō expert Kinoshita Chōshōshi (木下長嘯子:1569 – 1649), to undertake the project. However his dilatory approach, combined with illness, and finally death, impeded his work and the task fell to Keichū, a close friend.
The result was the latter’s Man’yō Daishōki (万葉集大匠記:1687-1690), which had a profound effect on kokugaku scholarship.

Manyo Daisho-Ki 万葉集代匠記 / 萬葉代匠記

Similarly his Waji Seiranshō 　　和字正濫鈔　(1693: A Treatise on the Proper way to Write Japanese Words) challenged the standard orthographical conventions set by Fujiwara Teika and reconstructed distinctions in the old Japanese lexicon based on the earliest texts. In addition to these Keichū wrote the
Kōganshō 厚顔抄 1691 A Brazen-faced Treatise, the Kokin Yozaishō, the Seigodan, the Genchū Shūi, and the Hyakunin Isshu Kaikanshō.
- source : wikipedia

kokugaku国学 Japanese studies

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- quote -
Keichū
a commentary to the Nara-period poetry collection Man’yōshū (Collection of Ten Thousand Leaves, mid-8th c.).
Keichū’s aim in writing this work was to reconstruct as closely as possible the original meaning of the text by looking at a wide range of contemporary and near-contemporary sources. Within the work, Keichū discusses the basic principles of his approach to the study of the past, which can be summarized as follows:

Reconstruct the contemporary meaning of the work and avoid at all costs any interference from the modern reader’s expectations and beliefs.
Make use only of sources from the same time period or thereabouts.
Do not take for granted the theories contained in later commentaries, including traditionally authoritative ones, because they may not be accurate or not apply directly to the age of the Man’yōshū.

Keichū applied these principles not only to the Man’yōshū, but also to the Kokinshū and other important works of the past. Through his method he made a number of important breakthroughs that forever changed the face of scholarship on the classics.

Although Keichū’s method may seem obvious today, no one before him had used such a rigorous philological approach in waka studies. Traditionally, waka scholars studied under a master and the emphasis was on amassing the transmitted teachings of one’s school or “house” (ie) rather than on textual study. Keichū never studied under a specific master, and so was never bound by a master-disciple type of relationship. Even more important was the boom of book publishing, which enabled Keichū to obtain the texts he needed for his research with ease.

As sources for his commentary to the Man’yōshū, Keichū names the Nihon shoki (Chronicles of Japan, 720), the Kaifūsō (Collection of Fond Recollections, 751), the Shoku Nihongi (Later Chronicles of Japan, 797), the Kogo shūi (Gleanings of Ancient Words, 807), the Shinsen Man’yōshū (Newly Edited Man’yōshū, 894), and the Wamyō ruijūshō (Japanese Words by Category, ca. 938), all of which were written between the 8th and 10th centuries, and all of which were available in print when Keichū wrote Man’yō daishōki in 1683.
None of them had ever been printed prior to the late 17th century, so it can be said that Keichū’s text-based scholarship would have been impossible in earlier periods. That Keichū’s approach relied heavily on printed editions of the texts he studied can be seen from the many notes and comments that he personally wrote on his own printed editions of the classics. Keio University Library owns one such book (Fig.2).
- source : futurelearn.com/courses - Keio university -

. Man'yōshū 万葉集 / 萬葉集 Manyoshu Poetry Collection .
Manyoo-Shuu, Manyo-Shu, Manyoo'shuu, Manyōshyū
"Collection of Ten Thousand Leaves"

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- - - - - H A I K U - - - - -

Keichuuki, Keichuu Ki 契沖忌 Memorial Day for Keichu
契沖の忌日 / 正月二十五日 / 25th day of the first lunar month
- kigo for the New Year, late Winter or Spring -

一扇の軸を上座に契沖忌
issen no jiku o jooza ni Keishuu Ki

a scroll
of one fan on the seat of honor -
Keichu Memorial Day

. Iida Dakotsu 飯田蛇笏 .

. Memorial Days of Famous People - Saijiki .

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- reference : 契沖 -

. Famous Buddhist Priests - ABC-List .

- - - #keichu #manyoshu - - -
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↧

Yukawa Shodo

August 29, 2016, 9:38 pm

≫ Next: Akkamura Shunsaku

≪ Previous: Keichu Priest

- source : chilyarennjiyanoyasai

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湯川松堂筆『達磨図』Standing Daruma

- source : -

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. . . CLICK here for more Japanese Photos !

. . . CLICK here for more Photos in English !

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- Reference - 湯川松堂 -
- Reference - Yukawa Shodo painter -

. Introducing Japanese Haiku Poets .

- - - #yukawashodo - - -
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↧

Akkamura Shunsaku

August 30, 2016, 1:06 am

≫ Next: Kasane and Yoemon

≪ Previous: Yukawa Shodo

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. - - - PERSONS - ABC - LIST of this BLOG - - - .
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Akkamura Shunsaku 安家村俊作 "Shunsaku from Akkamura village"
佐々木俊作 Sasaki Shunsaku
(1810 - 1837)
Also known as 茂右衛門　Moemon, he later changed his name to Shunsaku.
He was the eldest son of the village leader 佐々木茂右衛門.

安家村 Akkamura is a small remote village in 岩手県 Iwate prefecture. In 1956 it became part of Iwaizumi 岩泉町安家.

Shunsuke was the leader of two farmer's rebellions in the Nanbu Domain 南部三閉伊一揆.
He kept a diary about the events in his village, its bad treatment by the Nanbu regents and the ongoing famine for about 19 years, from 1830 till 1848.
He was one of the leaders of the two
Sanhei Ikki 三閉伊一揆 Sanhei Rebellions of 1847 and 1854
after a severe famine, walking with about 16000 farmers and fishermen all the way to the domaine of the Date　伊達 in Sendai, asking for help.

It all begun with blowing a horagaiほら貝 conch shell from a small hill in 田野畑村 Tanohata village. The sound was heard and passed on and the people begun to move South. They wore a small straw bags with food and even took a bowl with them.
Every village carried their own flag.
Some even had fire weapons (the matagi hunters), others bamboo spears and swords.

They went South along the Tohoku coast, via 宮古 Miyako, 大槌 Otsuchi, 釜石 Kamaishi and finally to the domaine of Sendai.
This was just three days after Perry had shown up with four "black ships" in Uraga, near Edo.
The rebels had a long list of demands they wanted to be granted from their new regent, not only including the farmers and fishermen, but also merchants, salt producers, cloth dyers and other businesses.
Eventually their 49 demands 四十九カ条の要求 were granted in written, 「安堵状」, 「御百姓」
At first, nobody was punished for the rebellion. But eventually just one, Shunsaku, had to be punished to "keep the law".

Shunsaku was punished with exile to 下北半島 Shimokita Hanto.
He was later pardoned and went to Hokkaido, where he lived under the name of
菊池政美 Kikuchi Masami.

Shunsuke had also been to Shikoku in 1842, and took the chance to walk the Henro pilgrimage, writing another diary, 西国巡礼道中記 .

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安家村俊作三閉伊一揆の民衆像 Akkamura Shunsaku : Sanhei ikki no minshūzō
Chadani Jūroku 茶谷十六 Chadani Juroku (1941 - )

- quote
佐々木俊作 Sasaki Shunsaku
1810－1873　江戸時代後期の農民。
- kotobank -

"安家村俊作とは　
安家村（あっかむら）は、昭和31年（1956年）まで岩手県下閉伊郡にあった村。現在の岩泉町安家にあたる。
- wikipedia -

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南部三閉伊一揆とは
四十九カ条の要求を実現
勤労人民の自覚と誇りが
一揆支えた自治と協同の力
- reference source : nouminren.ne.jp/dat - 新聞「農民」2002.9.16付

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俊作（菊地氏先祖代々）のお墓 Grave of Shunsaku and the Kikuchi family

安家村俊作 with photos (5)
俊作（菊地氏先祖代々）のお墓。
俊作の生家は安家村川口
『安家村俊作』　茶谷十六
『一揆の奔流』『一揆の奔涛』『いわいずみふるさとノート』　佐々木京一
- reference source : takuworld.blog15.fc2.com -

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. Welcome to Edo 江戸 ! .

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. Introducing Japanese Haiku Poets .

- - - #akkamura #akkamurashunsakuiwate - - -
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↧

Kasane and Yoemon

December 1, 2016, 4:45 pm

≫ Next: Hanabusa Itcho

≪ Previous: Akkamura Shunsaku

- quote
Meiboku Kasane Monogatari
The drama "Date Kurabe Okuni Kabuki"
was premiered in the 7th lunar month of 1778 at the Nakamuraza [casting]. It had an influence on the evolutions of "Meiboku Sendai Hagi". Many scenes from "Date Kurabe Okuni Kabuki" were integrated within "Meiboku Sendai Hagi".
"The play is based on a real event involving the Date clan of Sendai during the 1660's, but censorship prevented contemporary incidents being dramatized, so the drama was set during the Muromachi period (1336-1568), and names were changed to disguise the protagonists' identity."
(text courtesy of Jean Wilson 1998)
- - - Introduction
Kinugawa Tanizô, a sumôtori patronized by Lord Ashikaga Yorikane, assassinated the courtesan Takao, Yorikane's lover, in order to save him from his scandalous love affair about to bring ruin to his household. Kinugawa Tanizô succeeded in escaping and hid himself in the village of Hanyû. Disguising himself as a farmer and calling himself Yoemon, he married Kasane, the younger sister of both Takao and the tôfu maker Saburobei. Soon after their wedding, Kasane was cursed by Takao's evil spirit and her face was horribly disfigured. Kasane was not aware of the change, however, as Yoemon forbade her to use any mirror at home.
- snip -
Dobashi - The Earthen Bridge
When she arrives at the river bank near the earthen bridge, Kasane notices the approach of Kingorô and Princess Utakata. So she hides in a bush and overhears their conversation in which Kingorô persuades Princess Utakata to marry Yoemon. Yoemon arrives and asks Kingorô to hand over Princess Utakata. As he has not brought the 100 ryô, however, Kingorô refuses to comply and, being convinced that Yoemon is in fact Kinugawa Tanizô, threatens to betray him to the magistrate's office. As Kingorô runs off in the direction of the magistrate's office, Yoemon follows him in hot pursuit.

Kasane appears from the bush and, jealous of Princess Utakata who is going to marry her husband, attacks her with a sickle. Yoemon comes back and tries to stop Kasane and in so doing accidentally cuts her wife's throat with her sickle. When she dies her face miraculously recovers its original beauty.

The tôfu maker Saburobei, Kasane's elder brother, who has been hiding in a bush, appears and goes near his sister's body. Yoemon attempts to kill himself with the sickle to atone for the horrible murder of Kasane but is dissuaded by Saburobei. He cuts off Kasane's head and takes it to the magistrate's office to pass it off as that of Princess Utakata, who is wanted by the magistrate.
- source : kabuki21.com/kasane2

Utagawa Kunisada

「与右衛門 - 松本幸四郎」Yoemon - Matsumoto Koshiro
「累 - 尾上菊五郎」Kasane - Onoe Kikugoro

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source : mfa.org/collections/object/unuma-yoemon ...

Unuma: Yoemon and His Wife Kasane,
from the series Sixty-nine Stations of the Kisokaidô Road (Kisokaidô rokujûkyû tsugi no uchi)
「木曾街道六十九次之内　鵜沼　与右ヱ門　女房累」
by Utagawa Kuniyoshi 1852

. Nakasendoo　中山道 Nakasendo Road - Kiso .
Gifu Prefecture
52. Unuma-juku 鵜沼宿 (Kakamigahara)

- quote -
Unuma-juku 鵜沼宿
was the fifty-second of the sixty-nine stations of the Nakasendō.
It was also the last post station on the Inagi Kaidō. It is located in the present-day city of Kakamigahara, Gifu Prefecture, Japan. The eastern and western portions of the old post town joined together to become a formal post town in 1651. Unuma-juku is approximately six kilometers from the preceding post town, Ōta-juku.

print by Keisai Eisen

The old post town contains such historical treasures as Kuan-ji Temple, the ancient tomb of Ishozuka, and haiku-engraved monuments left by Matsuo Bashō.
- source : wikipedia -

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. Edo Kabuki .

. Welcome to Edo 江戸 ! .

. Famous Buddhist Priests - ABC-List .

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. Legends and Tales from Japan　伝説 - Introduction .

Kasane カサネ / かさね
On the 11th day of the 8th month in 1647, Kasane was killed by her husband Yoemon at the river Kinugawa.
He later married again, but his wives were all killed by the jealous Yurei ghost-spirit of Kasane. His 6th wife bore him a child named 菊 Kiku, but this wife was also killed in September of 1671.

When Kiku was 13 years old, Kasane tried to possess Kiku, but was finally enlightened, healed from her jealousy and could pass on to the Buddhist Paradise.

- reference : nichibun yokai database -

死霊解脱物語聞書 - 江戸怪談を読む
小二田誠二 Konita Seiji (1961 - )

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rui, kasane 累（るい、かさね）

Yurei Attack!: The Japanese Ghost Survival Guide
By Hiroko Yoda, Matt Alt
O-Rui (Orui)　お塁　(another reading for Kasane)
- Read the story at google books :
- source : Matt Alt, google books -

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- Reference - 累と与右衛門 -
- Reference - kasane yoemon -

. Introducing Japanese Haiku Poets .

- - - #kasane #yoemon - - -
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↧

Hanabusa Itcho

December 5, 2016, 4:40 pm

≫ Next: Kose Kanaoka

≪ Previous: Kasane and Yoemon

富士山図 Mount Fujisan seen from river 相模川 Sagamigawa

Hanabusa means "Flower Bouquet"
Itcho means "One Butterfly"

- quote
Hanabusa Itchō (英一蝶, 1652 – February 7, 1724)
was a Japanese painter, calligrapher, and haiku poet. He originally trained in the Kanō style, under Kanō Yasunobu, but ultimately rejected that style and became a literati (bunjin). He was also known as Hishikawa Waō and by a number of other art-names.

Born in Osaka and the son of the physician Taga Hakuan, he was originally named Taga Shinkō. Hakuan was the official doctor for Lord Ishikawa of the Kameyama Clan in the Ise region.
Itcho studied Kanō painting with Kano Yasunobu, but soon abandoned the school and his master to form his own style, which would come to be known as the Hanabusa school.

In 1693 was arrested and thrown into jail.
He was exiled in 1698, for parodying one of the shogun's concubines in painting, to the island of Miyake-jima; he would not return until 1710. That year, in Edo, the artist would formally take the name Hanabusa Itchō.
In 1709 Shogun Tsunayoshi died, and in honor of the new government, Itcho was granted pardon to come back to Edo.

Most of his paintings depicted typical urban life in Edo, and were approached from the perspective of a literati painter. His style, in-between the Kanō and ukiyo-e, is said to have been "more poetic and less formalistic than the Kanō school, and typical of the "bourgeois" spirit of the Genroku period".
Hanabusa was the master of the later painter Sawaki Suushi.
Hanabusa
was a friend of haiku poet Kikaku and studied poetry under the master Matsuo Bashō, his haikai name was Gyoun.
He was an excellent calligrapher as well.
- source : wikipedia -

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Daruma 達磨

. Who is Daruma ?　達磨　だるまさん .
We have the story of a curtesan who commented about Daruma
"Well, he was sitting in quiet meditation for nine years, but we here have to sit and suffer in the Noisy Pleasure Quarters for more than ten years!"
The painter Hanabusa Itcho made a picture of the courtesan, which became the model of the Princess Daruma Dolls.

. Fujisan 富士山 Mount Fuji, Fuji-San .
Inrō in the Shape of Mount Fuji
18th–early 19th century - by Kajikawa School, based on a design by painter, calligrapher, and haiku poet Hanabusa Itchō (英一蝶, 1652–1724).

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The Life and Afterlives of Hanabusa Itchô, Artist-Rebel of EDO
(Japanese Visual Culture)
by Miriam Wattles

Miriam Wattles recounts the making of Hanabusa Itchô (1652-1724), painter, haikai-poet, singer-songwriter, and artist subversive, in The Life and Afterlives of Hanabusa Itcho, Artist-Rebel of Edo.
Translating literary motifs visually to encapsulate the tensions of his time, many of Itch s original works became models emulated by ukiyo-e and other artists. A wide array of sources reveals a lifetime of multiple personas and positions that are the source of his multifarious artistic reincarnations. While, on the one hand, his legend as seditious exile appears in the fictional cross-media worlds of theater, novels, and prints, on the other hand, factual accounts of his complicated artistic life reveal an important figure within the first artists biographies of early modern Japan."
- source : amazon.com -

- quote M. Wattles : -
I have worked extensively on Hanabusa Itchô, someone lauded from the Edo period through to Taisho for being the father of giga, and so spent some time excavating “giga” as a genre of the Edo period. (Discused in my book, The Life and Afterlives of Hanabusa Itchô, 2013,
and in my essay “From Adverb to Noun: Some Thoughts on Hanabusa Itchô and the Instability of the ‘Giga’ Genre”
in Ota Shôko, ed, Edo no shuppan bunka kara hajimatta imeeji kakumei,” 2007)
- Follow the discussion here:
- source : PMJS listserve forum -

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source : library.metro.tokyo.jp/portals

Twelve Months: New Year
英一蝶十二カ月の内正月　Hanabusa Iccho Jūnikagetu no Uchi Shōgatsu
Painted by Hanabusa Icchō / Hanabusa Itcho

nunozarashi 布晒し Nuno Sarashi Mai-zu - Dancing with Cloth

"The Falling Thunder God"

. kaminari 雷と伝説 Legends about Thunder and Lightning .

一休和尚酔臥図 Ikkyu, the priest, lying down drunk

寝並んで小蝶と猫と和尚哉
ne narande kochoo to neko to oshoo kana

sleeping in a row ...
the little butterfly, the cat
and this old priest

. Kobayashi Issa 小林一茶 in Edo .

. oshoo 和尚　Buddhist priests in Haiku .

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. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

. Mingei　民芸 Folk Art from Japan .　

. Welcome to Edo 江戸 ! .

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- Reference - 英一蝶 -
- Reference - hanabusa itcho -

. Authors and writers of the Edo period .

. Introducing Japanese Haiku Poets .

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↧

Kose Kanaoka

January 5, 2017, 9:42 pm

≫ Next: Fuma Kotaro ninja

≪ Previous: Hanabusa Itcho

- quote
Kose Kanaoka was a proponent of the artistic styles of the Tang dynasty of China. Though few of his works have survived, he is known to have painted landscapes and portraits. He also founded the Kose School of Art, which is named for him. He made the first tonal gradation, and the first Buddha in crayonage style.

Active during the formative days of the aristocratic culture of the Heian period (794–1185), he was reputed to have moved beyond Chinese-inspired subject matter and techniques and to have forged a new style of painting that was uniquely Japanese. As the scion of an aristocratic family, he held court rank and the office of director of the imperial garden.
©　More in the WIKIPEDIA !

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内部の襖（ふすま）や屏風（びょうぶ）には唐絵に変わり日本の風物を題材に、
なだらかな線・美しく上品な彩色
初期の大和絵の画家は巨勢金岡（こせのかなおか）
- reference source : heian-heyan.blog.so-net.ne.jp -

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Kannon Bosatsu観音

伝説の絵師・画聖【“巨勢金剛（こせのかなおか）
- reference source : navitown.com/fukusenji/qa -

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source and more photos : kobe-u.ac.jp/~imakoma/mainichi

. Legends and Tales from Japan　伝説 - Introduction .

Many legends about a horse he painted that went off the painting to bring harm to a village. The horse would also eat the 萩の戸の萩 bush clover growing on gates.
There is also a legend from China about a painter of bulls who went wandering around at night.
『清波雑志』にも中国は江南の徐知諤が描いた牛が昼間出てきて草を食べ、夜には戻ってきたとある。

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Gifu岐阜県益田郡 Mashita district 下呂町 Gero

At the 蚕飼薬師堂 Kogai Yakushi Hall (with prayers for making silk) was a painting by Kanaoka (or maybe 狩野法眼 Kano Hogen) of a horse running away at night.
So someone painted a horse bridle to keep the horse in place.

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Kyoto京都府

At the hall 武徳殿 Butokuden, in the eastern Pine Forest, there was a 鬼 Demon who ate humans.
So on the auspicious 19th day of the 9th lunar month in 892, Kanaoka was ordered to paint it on a sliding door to keep it in place.

At the temple 仁和寺 Ninna-Ji the story of the horse is told. To keep it in place the eyes were stamped out.

At the Imperial palace, a horse painted on sliding doors by Kanaoka was eating the bush clover from the gate. So the painting was changed and the horse got a strong bridle.

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Okayama　岡山

. Kibitsu Jinja 吉備津神社 .
Painting of a horse

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Tottori 鳥取県倉吉市 Kurayoshi 余戸谷町

At the temple 長谷寺 Hasedera - the painted horse got a bridle painted to keep it in place.

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- reference : nichibun yokai database -

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- Reference - 巨勢金岡 -
- Reference - English -

. Introducing Japanese Haiku Poets .

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↧

Fuma Kotaro ninja

June 15, 2017, 9:19 pm

≫ Next: Takeshiuchi no Sukune - Takenouchi

≪ Previous: Kose Kanaoka

source : dustin on facebook
drawing from the Hojo Godaiki (written by Joshin Miura, 1565-1644) depicting Fuma Kotaro and his band of rappa (ninja) raiding a Takeda camp.

He was like an ONI demon - 鬼のような異相の持ち主であったという

. Onipedia - 鬼ペディア　- Oni Demons - ABC-List - Index - .

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- quote
... the name adopted by the leader of the ninja Fūma clan (風魔一党 Fūma-ittō) during the Sengoku era of feudal Japan. According to some records, his name was originally Kazama (風間).
The Fūma clan and Fūma Kotarō
The clan was based in Kanagawa Prefecture, specializing in horseback guerrilla warfare and naval espionage. According to some sources, the family has roots in the 10th century when they served Taira no Masakado in his revolt against the Kyoto government. The use of the name started with the first leader (jonin) of the clan: originally surnamed "風間" (Fūma), with a different kanji, it was later changed to homophone 風魔. Each subsequent leader of the school adopted the same name as its founder, making it difficult to identify them individually. This school was in the service of the Hōjō clan of Odawara.

Fūma Kotarō was the fifth and the best known of the Fūma clan leaders.
Born in Sagami Province (modern Kanagawa Prefecture) on an unknown date, he became notorious as the leader of a band of 200 Rappa"battle disrupters", divided into four groups: brigands, pirates, burglars and thieves. Kotarō served under Hōjō Ujimasa and Hōjō Ujinao. His biggest achievement came in 1580, when the Fūma ninja covertly infiltrated and attacked a camp of the Takeda clan forces under Takeda Katsuyori at night, succeeding in causing severe chaos in the camp, which resulted in mass fratricide among the disoriented enemies. In 1590, Toyotomi Hideyoshi laid siege to Odawara Castle, which eventually fell, and the Hōjō clan was forced to surrender.

When the Tokugawa shogunate came to power, the remnants of Fūma-ryū were reduced to a band of brigands operating in and around Edo. A popular but fictional story says that in 1596, Kotarō was responsible for the death of Hattori Hanzō, a famous ninja in the service of Tokugawa Ieyasu, who had tracked him down in the Inland Sea, but Kotarō has succeeded in luring him into a small channel, where a tide trapped the Tokugawa gunboats and his men then set fire to the channel with oil. Kotarō was eventually caught by the shogunate's special law-enforcement force, guided by his rival and a former Takeda ninja Kosaka Jinnai (高坂甚内), and executed through beheading by an order of Ieyasu in 1603.

- - - - - In folklore and popular culture
In a folk legend, he is often an inhuman figure: a supposedly part-oni monstrous giant (over 2 meters tall) with inverted eyes.
In fiction portrayals, Fūma Kotarō is often depicted as Hattori Hanzō's arch-rival. As the name Fūma literally means "wind demon", Fūma Kotarō's depiction is frequently more flamboyant, fantastical, and sometimes even demonic. In contrast, Hanzō is usually rendered with a relatively subdued appearance.
Kotarō is a player character in the video game Onimusha 2: Samurai's Destiny as a young ninja in the service of the Hōjō clan, also returning in the spin-offs Onimusha Tactics and Onimusha Soul. He is also a main character in the World Heroes fighting game series (as "Fuuma"), also featured in Neo Geo Battle Coliseum together with his main rival Hanzo.
- snip -
©　More in the WIKIPEDIA !

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Onimusha　鬼武者 Demon Warrior

- quote -
Onimusha (鬼武者, literally "Oni Warrior") is a series of video games by developer Capcom.
The series makes use of the historic figures that shaped Japan's history, retelling their stories with supernatural elements. Most of the games are of the action-adventure game genre, a combination of third person combat and puzzle solving, where the protagonist wields the power of the Oni, enabling them to fight the Genma, the main enemy of the series. As of 2012, Onimusha is Capcom's sixth biggest franchise, behind the Resident Evil, Street Fighter, Mega Man, Monster Hunter, and Devil May Cry series.
- - - - - Onimusha: Warlords
- - - More in the WIKIPEDIA !

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忍者 - 鬼忍

. ninja 忍者 spies - Introduction .
Hattori Hanzo 服部半蔵, the famous Ninja from Iga (1541 - 1596)　
February 22 is the Ninja Day　忍者の日.

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↧

Takeshiuchi no Sukune - Takenouchi

August 13, 2017, 6:05 pm

≫ Next: Kajiwara Kagesue

≪ Previous: Fuma Kotaro ninja

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- quote -
Takeshiuchi no Sukune
Also written with the Chinese characters 建内宿禰, and sometimes read Takenouchi no Sukune.
A legendary personality called one of the three meritorious subjects at the time of the Punitive Campaign against the Three Korean Kingdoms, and regarded as the ancestor of twenty-eight clans including Ki, Katsuragi, Heguri, Kose, and Soga.
- A grandson of Imperial Prince Hikofutōshimakoto no Mikoto, his father was Yanushioshiotakeokokoro no Mikoto, and his mother, Princess Kagehime. He served five legendary emperors, including Keikō (legendary reign 71-130), Seimu (131-190), Chūai (192-200), Ōjin (270-310), and Nintoku (313-399).
He was known to be particularly meritorious in serving Empress Jingū (legendary reign 209-269). He led a military campaign to the northeast in the twenty-fifth year of Emperor Keikō, then suppressed the Ezo peoples two years later. During the reign of Emperor Seimu, he became the first Great Minister (Ō-omi). He was significant in supporting Emperor Chūai and Empress Jingū during the Punitive Campaign against the Three Korean Kingdoms.
According to legend, at the end of his service spanning some two hundred and forty-four years, covering five imperial reigns, he passed away in the fifty-fifth year of Emperor Nintoku.
Takeshiuchi is also said to have performed the religious role of a saniwa, a spirit medium receiving divine oracles. The twenty-eight clans descended from him were said to have dispersed throughout the country and prospered.
He is enshrined as a kami in 宇倍神社 Ube Shrine in Iwami District, Tottori Prefecture, as well as at local Hachiman Shrines.
- reference source : Shimazu Norifumi, Kokugakuin 2006 -

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- quote
a legendary Japanese hero-statesman, and is a Shinto kami.
- - - - - Life
Takenouchi no Sukune was supposedly the son of Princess Kagehime, and is said to be grandson to Imperial Prince Hikofutodhimakoto no Mikoto. Also descended from Emperor Kōgen, Takenouchi no Sukune served under five legendary emperors, Emperor Keikō, Emperor Seimu, Emperor Chūai, Emperor Ōjin, and Emperor Nintoku, but was perhaps best known for his service as Grand Minister to the Regent Jingu, with whom he supposedly invaded Korea. While Jingu was regent to her son, Ojin, Takenouchi was accused of treason. He underwent the "ordeal of boiling water" as a way to prove his innocence.
In addition to his martial services to these emperors, he was reputedly also a 沙庭 saniwa, or spirit medium.
- - - - - Legacy
Twenty-eight Japanese clans are said to be descended from Takenouchi no Sukune, including Takeuchi and Soga. He is a legendary figure, and is said to have drunk daily from a sacred well, and this helped him to live to be 280 years old. Further, he is enshrined as a Kami at the Ube shrine, in the Iwami district of the Tottori Prefecture and at local Hachiman shrines. His portrait has also appeared on the Japanese yen, and dolls of him are popular Children’s Day gifts.
- Takenouchi no Sukune
is grandfather of Takenouchi no Matori (竹内真鳥) who created manuscript books of Takenouchi monjo (竹内文書) which depicted ancient Japan before the era of Kojiki and Nihon Shoki. The copies still exist in Kōsō Kōtai Jingū shrine in Ibaraki prefecture.
©　More in the WIKIPEDIA !

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Takenouchi Monjo 竹内文書 Takenouchi Documents

- quote -
It is our privilege to share the wisdom of Takenouchi Documents on behalf of Wado Kosaka who is one of the prominent researchers of the Takenouchi Documents.
- reference source : takenouchi-documents.com -

竹内文書でわかった太古の地球共通文化は【縄文JAPAN】だった
『竹内文書世界を一つにする地球最古の聖典
高坂和導 Kosaka Wado (著), 三和導代 (著)

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武内宿禰と仁徳天皇 with emperor Nintoku Tenno (290 - 399)

Takenouchi no Sukune lived 超長寿者 a long long life, he is said to have become 317 years old.
(Nobody takes that serious in our day, though . .. )

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- quote -
Empress Jingu and Takenouchi no Sukune
Another principal musha-ningyô is a character from Japan's remote history: Empress Jingu (170-269). The only female figure regularly associated with Boy's Day, she is paired with her faithful minister/ general Takenouchi no Sukune. The Nohongi (compiled in 720) states that her husband, Chuai Ten'no the 14th emperor of Japan, died just prior to invading Korea. Debate over the invasion had been strong and Jingu had been an ardent supporter.
. Musha ningyoo 武者人形 Samurai Dolls .

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source : h2.dion.ne.jp/~hushimi/tuti/nakano...
神功皇后と武内宿禰 Empress Jingu and Takenouchi no Sukune

中野人形（長野県） Nakano Dolls from Nagano prefecture

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source : sakigake-one.sakura.ne.jp/oldtoy...
武内宿禰 Takeshiuchi no Sukune - Takeshi-Uchi
(15,1 cm high)

. Mingei　民芸 Folk Art from Japan .　
Shibahara tsuchi ningyoo 芝原土人形 Shibahara clay dolls - Chiba

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提燈祭り Chochin Lantern Festival
埼玉県久喜市 Saitama, Kuki Town

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武内宿禰（山車人形展）Exhibition of Festival Floats
千葉県市川市 Chiba, Ichikawa Town

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"Takenouchi no Sukune Meets the Dragon King of the Sea"
1875-1879 ~ Bronze and Glass Sculpture.
This sculpture was created by skilled metalworking artists who looked back to the legendary founders of Japan to celebrate not only their own skills but also the age and prestige of their nation.
Takenouchi dreamed he was called by heaven to destroy a terrible sea monster that was terrorizing the waters for humans and sea creatures alike. Takenouchi undertook this task with great valor, and the Dragon King, Riujin, emerged from the deep with an attendant to thank him and present him with a jewel that gave control over the seas.
Ryūjin, The Dragon God of the Sea, who lives in the submerged Palace called the Ryūgū-jō castle.
He is usually represented in the shape of a very old man, with long beard, and with a dragon coiled on his head or back. His countenance is fierce; he carries in hand the tide-ruling gems.
(Foundation for the Arts Collection, Dallas Museum of Art.)

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. Koma-jinja　高麗神社 Koma Shrine "Korea Shrine" . - Saitama
The enshrined deities are Koma no Koshiki Jakko, Sarutahiko no Mikoto and Takenouchi no Sukune.

. Kehi Jinguu 気比神宮 Shrine Kehi Jingu .
It enshrines the seven deities:
Isasawake-no-Mikoto, Emperor Chuai, Empress Jingu-Kogo, Emperor Ohjin, Takenouchi-no-Sukune-no-Mikoto, Yamato-Takeru-no-Mikoto, and Tamahime-no-Mikoto.

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- reference source : kotobank.jp/word... -

- Reference - 武内宿禰 -
- Reference - takenouchi no sukune -

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↧

Kajiwara Kagesue

September 19, 2017, 9:23 pm

≫ Next: Toyotomi Taiko Hideyoshi

≪ Previous: Takeshiuchi no Sukune - Takenouchi

also known as Kajiwara Kagetoki, was a samurai in service to the Minamoto clan during the Genpei War of Japan's late Heian period.

The Heike monogatari records an anecdote about a friendly competition with Sasaki Takatsuna prior to the second battle of Uji.
Mounted on Yoritomo's black horse, Surusumi, he races Takatsuna across the River Uji.

Kagesue met death in Suruga at the hands of men loyal to Minamoto no Yoriie.

- More in the WIKIPEDIA !

CLICK for more photos !

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- quote -
Kajiwara Kagesue梶原景季 / 梶原景時 Kagetoki
(1162 - February 6, 1200),
was a samurai in service to the Minamoto clan during the Genpei War of Japan's late Heian period.
The Heike monogatari records an anecdote about a friendly competition with Sasaki Takatsuna prior to the second battle of Uji. Mounted on Yoritomo's black horse, Surusumi, he races Takatsuna across the River Uji.

Kajiwara Kagesue, Sasaki Takatsuna, and Hatakeyama Shigetada racing to cross the Uji River before the second battle of Uji,
by Utagawa Kuniyoshi.

Kagesue met death in Suruga at the hands of men loyal to Minamoto no Yoriie.
- - - More in the WIKIPEDIA !

梶原稲荷神社 Kajiwara Inari Shrine
relocated here in 1320.

- source and more photos : gogohiderin.blog.fc2.com -

Kajiwara Kagetoki梶原景時 (?1140 ( ?1162) - 1200)
In the village of 八王子村 Hachioji there is a pine named Kajiwara sugi 梶原杉 Kajiwara Pine.
It grew from a walking staff of Kagetoki, who had cut it out at Shrine 鎌倉八幡 Kamakura Hachimangu and planted it in the compound of this village.
The remains are venerated to our day:

- quote -
Kajiwara Kagetoki (梶原景時, c.1162 – February 6, 1200)
was a spy for Minamoto no Yoritomo in the Genpei War, and a warrior against the Taira. He came to be known for his greed and treachery.
"A prominent eastern warrior", he supplied Yoshitsune with a number of ships after the Battle of Yashima.
Originally from Suruga province,
Kajiwara entered the Genpei War fighting under Oba Kagechika, against the Minamoto.

After the Taira victory at Ishibashiyama in 1181, he was sent to pursue the fleeing Minamoto no Yoritomo. Having discovered him, Kajiwara switched sides, leading his forces in another direction, and turning to Yoritomo's cause.
Three years later,
Kajiwara would lead the forces of Minamoto no Yoshitsune and Yoritomo into battle against their cousin Yoshinaka, and against the Taira.
Attached to Yoshitsune's force,
Kajiwara reported back to Yoritomo on Yoshitsune's actions, in order to satisfy Yoritomo's suspicion and distrust of his brother. In one particular episode related in The Tale of the Heike, Kajiwara suggests, during the Battle of Yashima, that Yoshitsune equip the Minamoto ships with "reverse oars" should they need to retreat quickly. Yoshitsune responds with distaste to Kajiwara's advice, humiliating him by saying such an act would be cowardice. From that point until Yoritomo's death, the resentful Kajiwara did as much as he could to raise tensions between the brothers. His slander led Yoritomo, already suspicious of his younger brother, to eventually accuse Yoshitsune of plotting against the bakufu, which then led to his exile and eventual death.
Even after this,
when the shogunate was successfully and firmly established, Kajiwara still caused tensions at court. He accused Yuki Tomomitsu of plotting against the Shogun Minamoto no Yoriie; a number of members of the court tried to get rid of him, who eventually left for Suruga. The following year (1200), he was defeated and killed in battle along with his son Kagesue.
Kajiwara Heima, a senior retainer of the Aizu domain in the 19th century, claimed descent from Kagetoki. His formal name, Kagetake (景武) shares a character with Kagetoki's name.
- - - More in the WIKIPEDIA !

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source : sakigake-one.sakura.ne.jp

About 24 cm high. Made by 前刀鍵蔵 Sakito Kagizo
【ひらかな盛衰記】Hirakana Seisuiki
. Inuyama tsuchi ningyo 犬山土人形 clay dolls from Inuyama - Aichi .

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. Legends and Tales from Japan　伝説 - Introduction .

Minamoto no Yoritomo 源頼朝 had given Kajiwara a special horse named 磨墨 Surusumi.
It was also called Baseki 馬石 "the Stone Horse".

................................................................................. Gunma 群馬県

waka no toku 和歌の徳 the virtue of Waka poetry
Waka poetry can move heaven and earth and bring the kishin 鬼神 "Demon Deity" alive.

Once Minamoto no Yoritomo was hunting near Mount Asama, when suddenly a strong rain begun to fall.
His retainer Kajiwara composed a kyoka 狂歌 funny waka poem and very soon the sun came back.

昨日こそ浅間はふらめ今日は又みはらし玉へ白雨の神

. kishin, kijin, onigami 鬼神 "Oni Deity", "Demon Deity" .

................................................................................. Shizuoka 静岡県

Yoritomo presented Kagesue with the horse 磨墨 Surusumi.
When Kagesue died 駿河の狐崎 in Suruga at Kitsunezaki, the horse ate 笹葉 Kumasasa leaves and died there too.

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- reference : nichibun yokai database -

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- Reference - 梶原景季 -
- Reference - Kajiwara Kagesue -

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Toyotomi Taiko Hideyoshi

October 3, 2017, 9:15 pm

≫ Next: Bunshosei Kaisei Stars

≪ Previous: Kajiwara Kagesue

- quote
A daimyo in the Sengoku period who unified the political factions of Japan. He succeeded his former liege lord, Oda Nobunaga, and brought an end to the Sengoku period. The period of his rule is often called the Momoyama period, named after Hideyoshi's castle. He is noted for a number of cultural legacies, including the restriction that only members of the samurai class could bear arms. Hideyoshi is regarded as Japan's second "great unifier."
More HIDEYOSHI in the WIKIPEDIA !

February 2, 1536, or March 26, 1537 – September 18, 1598
kigo for mid-autumn

Taikoo Ki 太閤忌 (たいこうき) Taiko Memorial Day
Hideyoshi Ki 秀吉忌（ひでよしき）Hideyoshi Memorial Day

. Memorial Days of Famous People .

. Shogun Daruma Dolls 武将達磨 .

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- quote -
Toyokuni Shrine 豊国神社 Toyokuni-jinja
a Shinto shrine located in Higashiyama-ku, Kyoto, Japan. It was built in 1599 to commemorate Toyotomi Hideyoshi. It is the location of the first tamaya (a Shinto altar for ancestor worship) ever constructed, which was later destroyed by the Tokugawa clan.
This shrine is the official tomb and shrine of Toyotomi Hideyoshi, who died September 18, 1598 in Kyoto.
Nobles, priests, warriors, and townspeople gathered at the shrine to celebrate the anniversary of Hideyoshi's apotheosis with banquets, musical recitals, and boisterous festivity. The shrine was closed by Tokugawa Ieyasu in June 1615 "to discourage these unseemly displays of loyalty to a man he had eclipsed."
The Meiji Emperor
directed that the shrine be restored in Keiō 4, the 6th day of the 6th month (April 28, 1868). At that time, the shrine area was expanded slightly by encompassing a small parcel of land which had been part of the adjacent Hōkō-ji.
In 1897,
the tercentenary of Hideyoshi was celebrated at this site.
- source : widipedia -

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. Mingei　民芸 Folk Art from Japan .　

source : sakigake-one.sakura.ne.jp。。。

秀吉と三法師 Hideyoshi and Sanboshi (Samboshi), one year old
about 32 cm high, made by 美濃島 Minoya 鈴太郎 Suzutaro

Oda Samboshi Hidenobu (1582-1602)
Son of Oda Nobutada, Grandson of Oda Nobunaga

- quote -
Oda Nobunaga had not intended to die as early as he did - he was assassinated in 1582 - and, thus, did not appoint a successor.
Hideyoshi, taking advantage of Oda Nobunaga's death, saw that Nobunaga's two sons were quarreling over succession, and, as Nobunaga's top general, placed Nobunaga's infant grandson, Samboshi in charge of the realm. Thus, Hideyoshi was able to rise to power more easily because of the lack of a leader in the Oda family. ...
- source : samurai-archives.com... -

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Hideyoshi clay doll from 尾北地方 the Bihoku region, Aichi. About 23 cm high.

Hideyoshi clay doll from 棚尾 Tanao, Aichi. About 34, 5 cm high.
Made by 鈴木初太郎 Suzuki Hatsutaro

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Hideyoshi 太閤秀吉 - 小幡土人形 Obata clay doll, Shiga
Made by 細井文造 Hosoi Bunzo

. Hideyoshi doll by Hosoi Gengo細居源悟 .

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source : yoshitoku.co.jp/user_data...

武者人形 Musha Ningyo doll for the Boy's Festival in May.

. . . CLICK here for more Musha Ningyo Photos !

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Hideyoshi

鳴かぬなら　鳴かせてみせよう　ホトトギス
nakanu nara nakasete miseyoo hototogisu

If the bird does not sing,
I will make it sing!
Hototogisu

The famous comparison of three famous warlords
Nobunaga, Hideyoshi and Ieyasu
and their approach to make a cuckoo (hototogisu) sing:

Here is the famous story to shed light on the temperament of the three most famous warlords in Japanese history:
When confronted with a nightingale in a cage, which would not sing, each had his own approach to this situation.

. Hototogisu and the three warlords 　

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. Legends and Tales from Japan　伝説 - Introduction .

.................................................................................　Wakayama 和歌山県
伊都郡 Ito district高野町 Koya

meidoo 鳴動 heavenly rumbling
Hideyoshi went to 高野山 Mount Koyasan with 観世太夫 Kanze Dayu, a Noh actor.
On this holy mountain, it was forbidden to blow the flute, but Hideyoshi made the actor blow it anyway.
And then there was a strong heavenly rumbling in the valley, storm, heavy rain and thunder as a reaction from the sky above.

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- reference : nichibun yokai database -
33 to explore (01)

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- Reference - 豊臣秀吉 -
- Reference - Toyotomi Hideyoshi -

. Introducing Japanese Haiku Poets .

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Bunshosei Kaisei Stars

October 25, 2017, 10:06 pm

≫ Next: Taira no Atsumori

≪ Previous: Toyotomi Taiko Hideyoshi

- Chinese depiction of Kuixing

I don’t have a scanned image of that catalogue entry to upload, but it has a typical Kaisei features:
a demon-like appearance (to answer the oni 鬼 part of 魁), a measure box masu 斗 in the left hand, a brush in the right, a half-naked muscular body with a lifted left leg, and the upward turn of the head (looking on stars).

The Chinese Wiki says, as I thought before, that Kuixing represents the first star of the Big Dipper (http://baike.baidu.com/view/72714.htm). Actually, he was originally a personification of the first star of the West White Tiger quadrant and was only later connected with the Ursa Magna. His gesture is “Kuixing pointing the Dipper" (魁星踢斗). Interesting that Kuixing is related to Zhongkui/Shoki, the demon queller, – the story of ugly appearance, the Emperor’s rejection – but instead of the bumping his head against the wall here we have throwing himself into the water and being rescued by ao/shachi monster 鯱 and sent to heaven.

In China he was normally worshipped at the altar with Wenzhang and depicted next to him. And Wenzhang looks like a typical official – and possibly more a protector of bureaucratic paperwork than of literature. This is what E.Werner wrote about these two: “In front of Wên Ch’ang, on his left, stands K’uei Hsing. He is represented as of diminutive stature, with the visage of a demon, holding a writing-brush in his right hand and a tou in his left, one of his legs kicking up behind—the figure being obviously intended as an impersonation of the character k’uei (魁). He is regarded as the distributor of literary degrees, and was invoked above all in order to obtain success at the competitive examinations. His images and temples are found in all towns. In the temples dedicated to Wên Ch’ang there are always two secondary altars, one of which is consecrated to his worship.”
P. 111. Werner, ETC “Myths and Legends of CHINA” Gearge G. Harrap & Co. LTD. 1922.
- - - more illustrations are here :
- source : evenbach.livejournal.com...

Click for more photos !

Click for more photos of 文昌星 !

. Hokuto 北斗 the Big Dipper, the Pole Star .

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- Reference - 文昌星 -
- Reference - bunshosei star -

. Introducing Japanese Haiku Poets .

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Taira no Atsumori

November 19, 2017, 5:06 pm

≫ Next: Reigan Priest

≪ Previous: Bunshosei Kaisei Stars

- quote -
a samurai famous for his early death in single combat. At the Battle of Ichi-no-Tani,
Atsumori engaged Kumagai Naozane, an ally of the Minamoto, and was killed. Kumagai had a son the same age as Atsumori. Kumagai's great remorse as told in the tale, coupled with his taking of priestly vows, caused this otherwise unremarkable event to become well known for its tragedy.
- - - The Death of Atsumori as told in the Tales of the Heike
- - - More in the WIKIPEDIA !

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. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

須磨寺やふかぬ笛きく木下やみ
Sumadera ya fukanu fue kiku koshita yami

temple Sumadera -
I listen to the flute nobody plays
in the darkness under the trees
Tr. Gabi Greve

In memory of Taira no Atsumori平敦盛 and his flute now kept at the temple.
Samurai had to learn all kinds of aristocratic things to be able to please their masters.
Atsumori was famous for his flute playing,, aoba no fue青葉の笛.

Paul Muldoon, Basho and the Temple Sumadera
... In the real war almost two hundred years after The Tale of Genji, the war epically recorded in The Tale of the Heike, the young Taira general Atsumori was killed by a Minamoto warrior named Noazane, near Suma. Noazane, father of a warrior son the same age as his victim, then discovered on Atsumori’s body a flute, and, reflecting on the insanity of a world in which such killing takes place, he became a Buddhist monk to pray for Atsumori’s spirit. That “Green-Leaf Flute” remains a treasure of Suma Temple to this day.
(The temple was founded in 786, some 400 years before the war and 900 years before Bashô’s visit.)
Bashô plays with the tradition of sadness, isolation, death, and giving up the world at Suma, making the sound of the unplayed flute a metaphor for Zen koans (on silent flutes, clapping, and so on) that lightly dissolves into the pleasant shade of a tree under summer’s sun in this desolate place. But note how that shade suggests again the “Green-Leaf Flute”—and the death of Atsumori. Light as the last line of Bashô’s poem may seem on first reading, it grows deeper with the next. ...
by William J. Higginson

- More information about this haiku
. Atsumori and the Flute .

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無官太夫平敦盛 Mukan no Taiyu Taira Atsumori
歌川国芳 Utagawa Kuniyoshi

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. Bihoku ningyoo 尾北人形 dolls from Bihoku - Aichi .

source :　www007.upp.so-net.ne.jp/kyoudoningyou

about 20 cm high. Made by 岩間房太郎 Iwama Fusataro

. Asahi tsuchi ningyoo 旭土人形 Asahi Clay Dolls - Aichi .

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. Legends and Tales from Japan　伝説 - Introduction .

.................................................................................　Hyogo 兵庫県
神戸市 Kobe

tsue 杖 walking staff
At the Shrine 生田神社 Ikuta Jinja in Kobe Atsumori planted his walking staff into the ground and it grew into a bamboo.

- quote -
Ikuta Atsumori (生田敦盛), sometimes known simply as Ikuta,
is one of many Noh plays derived from the story of Taira no Atsumori, a young Taira clan samurai who was killed in the 1184 battle of Ichi-no-Tani. Taking place largely at Ikuta Shrine, near the scene of the battle, it centers on Atsumori's fictional son, who seeks to meet his father's ghost.

- - - Plot summary
A monk opens the play, introducing himself as a disciple of famous priest Hōnen Shōnin, and explaining how Hōnen once found a baby boy in a box at the Kamo Shrine in Kyoto. The monk says that Hōnen raised the boy, and, that many years later, a young woman came forth revealing herself to be the boy's mother, and explaining that his father was Taira no Atsumori. As the boy now longed to see his father's face, Hōnen suggested that he should go to Kamo and pray there for a week.
The monk concludes his introduction by explaining that this is the last day of that week, and that he has come with the boy to Kamo once again, to pray. The boy then tells the monk that he had a dream while praying, in which a voice told him to go to Ikuta Shrine in order to see his father.
Traveling to Ikuta, the pair come upon a small hut, where they decide to ask to spend the night. The man in the hut explains that he is the ghost of Atsumori. Through the intervention of the Kamo kami, Atsumori explains, he has been granted by Yama, the lord of death, a brief opportunity to appear here in the mortal world, to meet his son. He regales his son with the tale of the battle of Ichi-no-tani, in which he was killed. A messenger of Yama then appears, and takes Atsumori with him, back to the realm of the shura, the hell of constant battle.
- - - Taira no Atsumori
Atsumori is a complex character. He is a great warrior from the Taira family but he also shows a sensitive side with his son. His philosophy on life also seems to contrast during the story. Before the meeting of father and son, Atsumori recites the five attributes of "beauty, perception, knowledge, motion, consciousness". He talks about how the body is weak and it is the soul that guards it from corruption. Yet, when he meets his son, he suddenly becomes concerned about the ratty garments he wears. The idea being that someone who comes from the Taira line should have a better presentation. When talking to his son, he has great pride in telling the story of the Taira family at its peak. As soon as he speaks of the downfall of the great Taira family, he is called back to Hell and just like the Taira family, he fades away.
- - - More in the WIKIPEDIA !

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- reference : nichibun yokai database -

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- Reference - 平敦盛 -
- Reference - taira no atsumori -

. Introducing Japanese Haiku Poets .

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Reigan Priest

December 1, 2017, 8:30 pm

≫ Next: Sesshu Toyo

≪ Previous: Taira no Atsumori

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Reigan 霊巌 Priest Reigan
(1554 － 1641)

檀蓮社雄誉(だんれんじゃゆうよ) Danrenja Yuyo
雄誉霊巌 Yuyo Reigan

Reigan was priest of the 浄土宗 Jodo Sect in the early Edo period.

Third son of 今川氏勝 Imagawa Ujikatsu.
He was born in Suruga (now Shizuoka) and walked all over Japan, building many temples.
His teacher was 貞把 priest Teiha at the temple 生実大巌寺(おゆみだいがんじ) Oyumi Daigan-Ji in Chiba.
One of the most famous is temple Reigan-Ji in Edo, at the island named after him, Reiganjima.
Whith the permission of 徳川家光 Shogun Tokugawa Iemitsu he also re-built temple 知恩院 Chion-In in Kyoto.
He also gave lectures in Edo castle.

His written works are 選択集. 精義集 Shogishu and 伝法指南 Denbo Shinan.

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. 霊巌寺 Temple Reigan-Ji Tokyo .
東京都江東区白河1-3-32 // 1 Chome-3-32 Shirakawa, Kōtō ward
with a special statue of Jizo Bosatsu

. Reigandoo 霊巌洞 Reigan-Do cave .
宮本武蔵 Miyamoto Musashi died there.

. Famous Buddhist Priests - ABC-List .

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Reiganjima 霊巌島 / 霊岸島 Island Reiganjima　
中央区新川 / Shinkawa, Chūō ward

Saint Reigan developed this land between the rivers Kamejimagawa and Sumidagawa and built the temple Reigan-Ji.
At first there were many Samurai estates nearby, but soon a town for the many temple visitors developed.
In 1657 the temple burned down during a huge fire, and was then rebuilt at Fukagawa.

The area of Reiganjima was redeveloped in 1659 by the rich merchant,
河村瑞賢　Kawamura Zuiken (1618 - 1699).
It was accessible by land and many merchants came to live here.

Reiganjima Shiroganemachi霊巌島　銀町
With many merchants of Sake.

Reiganjima Shiomachi　霊巌島　塩町
The estate of Kawamura Zuiken was located here and often called 瑞賢長屋　Zuiken nagaya.
Zuiken was a timber merchant and elevated to Samurai status after the great Meireki fire in 1657. He supervised many projects for canals and flood control in Edo.

Many dealers in pottery lived in Shiomachi. The nearby riverside was called 茶碗河岸　Chawan-kawagishi"Riverside of the tea bowls".

Alltogether there were 16 sub-districts with the name Reiganjima.

The name Reiganbashi 霊岸橋 Reigan-Bridge is still in use today.
Chuo ward, Nihonbashi Kayabacho, 1 Chome−11−2

霊巌島の碑 Memorial stone of Reiganjima

. Places of Edo - Introduction .

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. Legends and Tales from Japan　伝説 - Introduction .

.................................................................................　Saitama 埼玉県
日高町 Hidaka

zenwanbuchi 膳椀淵 "river pool for trays and bowls"
At the temple 箕輪山霊巌寺 Minowayama Reigan-Ji at the riverpool of 高麗川 Komagawa there lives 大蛇 a huge serpent.
She would grant trays and bowls if people asked her politely, saying the number of visitors then needed to entertain. And of course bring back the tools nicely washed and clean.
When a farmer forgot to bring the things back, the serpent stopped to appear.
After a huge flooding the riverpool was filled with sand. Excarvating it they found the skull of a huge serpent. So nowadays the farmers pray to the serpent at the temple Reigan-Ji.

. Zenwanbuchi 膳椀淵 "river pool for trays and bowls". .

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- reference : nichibun yokai database -

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↧

Sesshu Toyo

June 15, 2017, 11:23 pm

≫ Next: Saigo Takamori

≪ Previous: Reigan Priest

. . . CLICK here for Photos !

- quote
Oda Tōyō since 1431, also known as Tōyō, Unkoku, or Bikeisai; 1420 – 26 August 1506) was the most prominent Japanese master of ink and wash painting from the middle Muromachi period. He was born into the samurai Oda family (小田家), then brought up and educated to become a Rinzai Zen Buddhist priest. However, early in life he displayed a talent for visual arts, and eventually became one of the greatest Japanese artists of his time, widely revered throughout Japan and China.

Sesshū studied under Tenshō Shūbun and was influenced by Chinese Song dynasty landscape painting. In 1468–69, he undertook a voyage to Ming China, where too he was quickly recognized as an outstanding painter. Upon returning to Japan, Sesshū built himself a studio and established a large following, painters that are now referred to as the Unkoku-rin school—or "School of Sesshū". Although many paintings survive that bear Sesshū's signature or seal, only a few can be securely attributed to him.
His most well-known work is the so-called "Long Landscape Scroll"(山水長巻, Sansui chōkan).

Sesshū was born in Akahama, a settlement in Bitchū Province, which is now part of western Okayama Prefecture.
©　More in the WIKIPEDIA !

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- quote -
SESSHU IN CHINA: UNIQUE EXPERIENCES FOR A MONK-PAINTER
By WATADA, Minoru

Sesshu Toyo (1420- ca. 1502 or 06) traveled to Ming dynasty China in 1467 and after two years on the continent, returned to Japan. As has been discussed frequently in recent years, Sesshu was a member of the Japanese mission party sent as tribute to Ming and therefore his actions were extremely limited. His journey in China was not a trip in which an artist set out to freely explore his own way of painting. Further, while today Sesshu stands as one of Japan's most famous artists, when he went to China he was nothing more than a provincial Zen monk-painter. Indeed, he was so unimportant in the mission that not even his name appears in any public records of the day, in China or Japan. Just because Sesshu went to China, it does not immediately mean that he was then able to paint works that faithfully followed Chinese styles, such as his Landscapes of the Four Seasons (Tokyo National Museum), or was allowed to paint the walls of such public spaces as the building of the Libu (Chinese ministry of ritual, religious and educational affairs), or was directly trained by imperial artists. We must think that each of these accomplishments by Sesshu came about because of unique circumstances.

Up until now the story of Sesshu in China has been largely described as the successful tale of some great artist. However, such an explanation is heavily colored by fictions formulated during the Edo period, and often relies on a complete misunderstanding of several historical documents. In other words, there has arisen a complete mix-up of Edo period analogies about Sesshu and what modern art historians expect to Sesshu. Therefore, first of all, this paper will ask just how much or how little can we actually recognize as historical facts about Sesshu in China, and then, will attempt to re-determine how we should evaluate it.

If we examine historical records with careful consideration of the time frames and distances covered by Sesshu in China, we arrive at some conclusions differing from those of preceding scholars. Sesshu's trip to China was not an event deemed a matter of course for a famous artist. Rather we should consider his journey a time when several unprecedented occurrences happened to a mere monk-painter. It is clear from the extant works and historical materials that an extremely unusual set of circumstances occurred. The following is my conclusion regarding this matter. Considering Sesshu in China, the most important fact is that he was able to study under imperial painters in Beijing. The fact that he painted at the Libu building must also not be lightly dismissed, because it is even possible that the painting created on that occasion corresponds to the Landscapes of the Four Seasons (Tokyo National Museum). While Sesshu's interactions with the Chinese literati and sketching from local scenery may have been accepted practice for artists visiting China, he alone seems to have been able to study under imperial painters and have an opportunity to publicly exhibit the results of that study. Indeed, these unique experiences played a decisive role in Sesshu's achievements, as we know them.
- source : tobunken.go.jp/~bijutsu/eng... -

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泣きねずみ

- quote -
..... As a youth he became a Zen monk at a local temple - Hofuku-ji .....
According to the legend
he was not a particularly good novice monk, preferring to spend his time drawing rather than memorizing sutras, and one day as a punishment for some infraction he was tied to a post in one of the temple buildings and left there.
His tears fell to the floor and with his toe he drew a rat on the floor with his tears. When the abbot returned he was taken aback by what he thought was a real rat at the boy's feet but which turned out to be a drawing.
From then on
Sesshu was allowed to continue with his art studies. In the way of legends, the story has been exaggerated and one version now has the drawing being so lifelike that the drawing came to life and chewed through the ropes to free Sesshu. .....
- source : japanvisitor.com..... -

- quote -
百三代後花園の院の御時、
備中の国赤浜に小田のほとりといふ侍有。子供三人持ち、末の子を丸と申けり。此子二三才の頃より手遊びにも鼠を好みける
父母、鼠を拵へ、愛す。
(母)
「此子は鼠がきつい好きさ」
父ほとり思ふは、丸は末の子也出家にせばや、とて、九才の年井の山宝副寺の弟子となし、等楊法師と申。
しかるに、此等楊手習学問は学ばずして、天性絵を描く事を好み、手習草紙に人形の首を描き、又は唐紙戸障子にいろいろの絵を描く。
師の御坊怒つて折檻し給ふ。
(師)
「余の子共は手習するに、汝一人さもなくして絵ばかり描く事、憎いとち坊主。その上此頃は襖壁などに絵かく事やめおらぬかぬか」
等楊十才の頃、とにかくに描く事をやめぬ故、師の御坊堂の柱に縛りつけ戒む。然れ共哀れみて、日暮に及び縄を解かんとて行給ふに、等楊が膝の下より数十疋の鼠、驚き騒ぎ走り回る。
急に此鼠を追ふ。御坊怪しみて見給ふに、等楊縛られて一日の落つる涙の滴りを足の親指につけて縁板に鼠を描く。その勢ひ恰も生ける鼠のごとし。師の御坊その妙を感じて、これより描く事を戒めづ。
- reference source : detail.chiebukuro.yahoo.co.jp -

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. Famous Buddhist Priests - ABC-List .

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. Legends and Tales from Japan　伝説 - Introduction .

.................................................................................　Yamaguchi 山口市

Sesshu painted 雪舟の絵馬の馬 a horse on a votive tablet at the temple 龍蔵寺 Ryuzo-Ji. The horse became alive at night and went out to feed and devastate the fields.
So he painted a bridle to keep the horse in his place.

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- reference : nichibun yokai database -

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墨絵めく霧の山河や雪舟忌
sumi-e meku kiri no sanga ya Sesshuu ki

the landscape painting
flowing in black ink fog . . .
Sesshu memorial day

檜紀代 Hinoki Kiyo

Sesshu 応永27年（1420年） - 永正3年8月8日（1506年）
His death day is given as the 8th day of the 8th lunar month in 1506.
Other dates are also mentioned.

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- kigo for all winter -

. sori 雪橇（そり）/ 雪舟（そり）sled, sledge .
Here the characters 雪舟 mean "snow boat".

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- Reference - 雪舟 -
- Reference - sesshu toyo -

. Introducing Japanese Haiku Poets .

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