Edo - the EDOPEDIA -

3/28/2013

ISSA - Cultural Keywords

. WKD : Kobayashi Issa 小林一茶 - Introduction .

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- issaculturalkeywords #issaabc -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

3/23/2013

Buson - Reference

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

Yosa Buson 与謝蕪村
(1715-1783)

. Yosa Buson 与謝蕪村 in Edo .
His use of cultural keywords.

under construction
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Buson
read the Chinese master poets and recommended reading these venerated works to improve and hone the style and depth of ones own work.
. - Discussing his style on facebook - .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Buson haikai no kenkyū :
Edo haidan kara no shuppatsu no imi
蕪村俳諧の研究 : 江戸俳壇からの出発の意味
清登典子著 / Kiyoto Noriko

蕪村俳句集 (岩波文庫) 尾形仂 by Ogata Tsutomu (see below for an online version)

与謝野蕪村 - 大野洒竹 - 春陽堂 by Ono Shachiku

Buson Spring and Autumn - 蕪村春秋 by Takahashi Osamu 高橋治

source : amazon.co.jp
蕪村全句集 - 藤田真一 by Fujita Shin-ichi

蕪村句集本文 - Buson Hokku Book Text
source : shimeisanjin/sekka

Nakano Sae 中野沙惠 studies about Buson - 夜半亭蕪村老人
oibito 老人 an old person
source : seitoku.jp/daigaku

別冊太陽　与謝蕪村　画俳ふたつの道の達人 - special edition of the TAIYO magazine

蕪村全集 Buson Zenshu Kodansha　尾形仂 - volumes with hokku, renku and more
source : www.amazon.co.jp

Shin Hanatsumi 新花摘 New Florilegium
Collection of Buson Poems from 1797
With all illustrations, also in English
source : www.geocities.jp/shimeisanjin

Yahantei Buson Shūōshi Mizuhara, Buson Yosa (Japanese)
source : books.google.co.jp

Yahantei - 蕪村の時代 Buson no Jidai - with explanations
source : yahantei.exblog.jp

Haiga : 俳画と蕪村 Haiga by Buson
- source : poyoland.jugem.jp

..................................................................................................................................................

蕪村庵　Buson-An
source : www.buson-an.co.jp

蕪村寺　　Buson-Dera - Treasures of Myohoji Temple - Paintings
source : www.busondera.com

蕪村句集 Buson Kushu - Poetry Collection
source : www4.ocn.ne.jp/~sas18091

- - - - - - - - - -

Buson - University of Virginia Library

蕪翁句集　- 春之部 -Spring
source : etext.virginia.edu - University of Virginia Library

蕪翁句集　- 夏之部 - Summer
source : etext.virginia.edu - University of Virginia Library

蕪翁句集　- 卷之下 - 几董著 - 秋之部 Autumn
source : etext.virginia.edu - University of Virginia Library

蕪翁句集　- 冬之部 - Winter
source : etext.virginia.edu - University of Virginia Library

- - - - - - - - - -

Poem Hunter - selected Poems by Buson
source : poemhunter.com/yosa-buson

- - - - - - - - - -

蕪村の俳句集 (Spring, summer, autumn winter poems, with short Japanese explanations)
source : urutora/buson.htm

Katazome - -　蕪村の風景 - cloth dyeing illustrations - 11 pages
source : www.katazome.com/buson

Ogata Tsutomu 尾形仂 (1920 - 2009) 鑑賞した句が並べてあります
source : kuuon.web.fc2.com/BUSON

UCLA - 10 Selected Works Of Yosa Buson
source : www.international.ucla.edu

Haiku of Buson - Buson's poetry is known as "ornate and sensuous, rich in visual detail".
source : oaks.nvg.org

..................................................................................................................................................

Addiss, Stephen Addiss
The Art of Haiku: Its History Through Poems and Paintings by Japanese Masters

In the chapter on Buson, we enter into a world of dispassionate observation and use of sounds to project the content of his haiku.
As with Bashō, Buson’s haiga amplify the feelings in the haiku and bring together the elements of the verbal and visual through art, calligraphy and poetry.
source : books.google.co.jp

..................................................................................................................................................

Auley - Thomas McAuley
with kanji, romaji and translation
source : www.temcauley.staff.shef.ac.uk/waka180

Coomler, David Coomler - Hokku
source : hokku.wordpress.com

Crowley, Cheryl A. Crowley - Haikai Poet Yosa Buson and the Bashō Revival
source : books.google.co.jp

Gill, Robin D. Gill - Buson and Sakura
source : http://books.google.co.jp

Merwin - Collected Haiku of Buson

- Tr. W.S. Merwin, Takako Lento

Kumano - Living in the World of Buson
With translation help and explanations - spring, summer, autumn, winter
by Shoji Kumano 熊野祥司 Hokuto 77
source : http://www.hokuoto77.com/

Larking, Mathew Larking - YOSA BUSON -Detached or mundane?
- Buson - harukaze ya and river Yodogawa

Persinger, Allan Persinger
Foxfire: the selected poems of Yosa Buson (whith kanji, hiragana and comments)
- source : dc.uwm.edu/cgi - PDF file -

Rosenstock Gabriel
with vigorous trasnscreations in Scots by John McDonald.
The Moon Over Tagoto: Selected Haiku of Buson

Terebess - Haiku of Yosa Buson
Organized by Rōmaji, in alphabetical order; translated into English, French, Spanish
source : terebess.hu/english

Terebess Gábor - Josza Buszon 547 haikuverse (translations into Hungarian)
source : terebess.hu/haiku/baso/buszon.doc

Ueda, Makoto Ueda
The Path of Flowering Thorn: The Life and Poetry of Yosa Buson
source : books.google.co.jp

Buson and the auditory aspect of Haiku

Virgil, Anita Vrigil - Buson’s Two Candles”
source : www.haikuchronicles.com

Webster, Loren Webster
“Word and Image in the Art of Yosa Buson”
Buson and the Scholar-Amateur School
source : www.loren webster

The Path of Flowering Thorn:
The Life and Poetry of Yosa Buson
by Buson Yosa and Makoto Ueda (1998)

Mynah Birds and Flying Rocks:
Word and Image in the Art of Yosa Buson
(Franklin D. Murphy Lectures)

Haikai Poet Yosa Buson and the Basho Revival
(Brill's Japanese Studies Library)

Yotsuya, Ryu
quote
Buson's hokkus, different from Basho's, don't present philosophy, nor show emphatic gestures. His expressions are so refined that he has no equal in technique. He had genius and he could make feel the eternity beyond the landscape by describing only one peaceful scene.
Buson's hokkus, which utilized linguistic function beauty completely, have charmed a lot of poets and had a big influence on the modern haiku.
However, they depend deeply on the function of Japanese and it is difficult to translate them into foreign languages.
source : Ryu Yotsuya

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

To join BUSON on Facebook, click the image!

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

. WKD : Yosa Buson 与謝蕪村 .

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

yosabuson ##buson
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　　

rosai-bushi song

[ . BACK to DARUMA　MUSEUM　TOP . ]
- - - - - 今様 Imayo, see below
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

Roosaibushi, rōsaibushi 弄斎節 rosai-bushi, Rosai song

a popular song of the Edo period.
This kind of song had been popular in Kyoto for a long time, now popular as kayoo 歌謡 song.

The singer of a Rosai song is accompanied by a shamisen. He can make up a text as he goes and as the situation calls for.

It began to appear in the pleasure quarters of Kyoto in the Kanei period ((1624‐44) and then moved on to Edo as 江戸弄斎 Edo Rosai .
From the Edo version evolved another popular song called nagebushi 投節.

Another popular humorous song evolved as the dodoitsu 都々逸節 in the form of 7 7 7 5.

Now there is also enka　演歌　and karaoke　カラオケ as entertainment and song.

Kumo-i no roosai 雲井のろうさい was the name of a popular courtesan in the Rokujo quarters of Kyoto 京六条.

....................................................................................................................................................

Legend says the name comes from a monk named Roosai 弄斎 Rosai, who used the popular
Ryuutatsubushi 隆達節 Ryutatsu song and added the shamisen player to it.
The singer can also dance or rather move his legs in a funny way to accompany his words, while the onlookers hum the tune with him.

隆達節歌謡 Ryutatsu Kayo - Collection of Songs

Ryuutatsu 隆達 Ryutatsu (1527 - 1611)
高三隆達 Takasabu Ryutatsu
was a monk of the Nichiren sect. He lived in the town of Sakai near Osaka.
He was gifted in song, painting and reciting the sutras with a powerful voice. He also collected popular songs of his time.

source :　yamashirokihachi

This is a folding screen with people enjoying the Ryutatsu song.
The old man in the painting might be Ryutatsu himself ?

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

- quote -
Contemporary Beautiful Women who Like Kimono
今様美人着物好 (Nijūshi Kō Imayō Bijin)
The Twenty-Four Paragons of Filial Piety is a Chinese book about 24 people who possesed filial piety who would be model sons/daughters for coming generations. In consideration of the policy of the Tokugawa shogunate that promoted Confucianism, this was used as a textbook at a temple school.
In immitation of this book, Contemporary Beautiful Women Who Like Kimono covers 24 women.
- source : Tokyo Metropolitan Library -

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

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

艶ナル奴今様花に弄斎す
艶なる奴今様花に弄斎す
en naru yakko imayoo hana ni roosai su

these alluring Yakko fellows
enjoy blossom viewing
and sing the fashionable Rosai song
Tr. Gabi Greve

Written in 天和2年, Basho age 39.

The hookan 幇間 male entertainers of the pleasure quarters of Edo made this song quite popular.

The yakko here are male servants who took care of the straw sandals of their masters. In the Edo period it was custom to take off the sandals when entering a room. Rich people had a servant to hold the sandals while the owner was inside and rush to the entrance when he appeared to go home, putting the sandals in front of him to step in easily.

source :　kazuyuki/kiba
zooritori 草履取り yakko "sandal keepers"

. yakko 奴 servants .

. taikomochi 太鼓持 male geisha .
..... hookan 幇間 kind of jester

. nanshoku, danshoku 男色 homosexuality in Edo .

....................................................................................................................................................

quote
imayoo, imayō 今様 Imayo, popular song , imayoo uta 今様歌
Imayo is an old Japanese word meaning "modern" or “nowadays,” and also refers to a certain type of songs which came to popularity for its new and new style in the 11th century to the 13th century in Japan. Although the Japanese culture had been dominated by aristocrats until then, Imayo arose among the people and then attracted aristocrats.

Waka (tanka) and haiku are well known as Japanese fixed verse forms. Waka consists of syllables arranged in groups of 5, 7, 5, 7, and 5, and haiku consists of syllables arranged in groups of 5, 7, and 5. Imayo, in contrast, is typically in the 7, 5, 7, 5, 7, 5, 7, 5, … pattern. This syllable pattern fits naturally into the Japanese speech pattern and is widely used for school songs and Japanese ballads even though imayo is obsolete today.

The themes of imayo songs ranged widely. Religious beliefs were often expressed in imayo, but people sang about love and other ordinary things as well as Buddhist hymns and pilgrim songs.
snip
Imayo Awase: Song contest in the Heian period
In ancient times, there was a unique contest format in Japan in which two sides of contestants, the Left and the Right, strive for mastery of various kinds of skills. This contest format was called awase-mono.

In imayo awase, singers were selected respectively from the Left and the Right sides, and they sang imayo songs that they spontaneously made themselves to compete on voice, and melody and intonation.
snip
Nihon Imayo-Uta Bu-Gakukai ( Japan Imayo Society)
Imayo declined around the 13th century. There have been literatures and illustrations describing imayo and therefore it is possible to understand to a certain extent what imayo was like in terms of lyrics and words, and costumes. However, there was of course no recording device to record rhythm and melody of imayo from the time of the Haian period.

Nihon Imayo-Uta Bu-Gakukai (Japan Imayo Society) was founded by Taizan Masui in 1948 in Kyoto in hope of revival of imayo as a great performing art. Based on his study, the unique rhythm and melody, and choreography of imayo have been reproduced. Nihon Imayo-Uta Bu-Gakukai provides performances of imayo in various locations under Satsuki Ishihara, who succeeded the rhythm, melody, and choreography
source :　imayo_english.pd

Modern Imayo Meeting

Emperor Goshirakawa 後白河天皇 Go-Shirakawa (1127 - 1192)
was very fond of the Imayo dance, which he had studied with a Geisha in Kyoto.
... he probably discerned in imayo a possible means of revitalizing court music.

- quote -
Songs to Make the Dust Dance - Go-Shirakawa and Imayo
Emperor Go-Shirakawa played a crucial mediatory role in the history of imayo . Under his aegis, a number of imayo concerts in which asobi or kugutsu participated were held in his palace. In addition to performing, these singers actively participated in informal critical discussions on imayo as an art form, demonstrating their mastery and esoteric knowledge of the medium.[68] What emerges from these occasions is a picture of an unusual artistic moment, in which upper and lower classes interacted in a special and creative milieu.

As his memoir indicates, when it came to imayo Go-Shirakawa did not hesitate to associate with members of the lower classes; in fact, he sought them out as his musical instructors and companions: "I associated not only with courtiers of all ranks, but also with commoners of the capital, including women servants of various places, menial workers, the asobi from Eguchi and Kanzaki, and the kugutsu from different provinces. Nor was this company limited to those who were skillful. Whenever I heard of any imayo singers I would have them sing together, and the number of these people grew quite large."[69]

...The memoir chronicles his growth as a practitioner, patron, connoisseur, and authority as the head of his own school of imayo singing. He opens the memoir by detailing his long and arduous training. It was not unusual for him to forgo sleep for days or to endure physical discomfort in his efforts to master the art. His interest was not transitory, as some around him may have assumed. It seems clear that the aesthetic satisfaction he derived from imayo was in no way inferior to that which other courtiers found in waka . He wrote:

I have been fond of imayo ever since my youth and have never neglected it. On balmy spring days when cherry blossoms open on the branches and then fall to the ground, and in the cries of the bush warbler and the song of the cuckoo, I have perceived the spirit of imayo . On lonely autumn nights as I gazed at the moon, imayo added poignancy to the cries of the insects. Ignoring both summer's heat and winter's cold, and favoring no season over another, I spent my waking hours in singing; no day dawned without my having spent the whole night singing. Even at dawn, with the shutters still closed, I continued singing, oblivious to both sunrise and noon. Rarely distinguishing day from night, I spent my days and months in this manner."

He was clearly not pushed to study imayo , but rather found it to be the most congenial medium of self-expression. In writing about the art form, Go-Shirakawa employs the same poetic idiom and images usually associated with waka aesthetics: the spring and cherry blossoms, bush warblers and cuckoos, and the autumnal moon and the cries of insects. For him, waka's refined sentiment of aware could be evoked equally well by imayo ; if waka helped to heighten one's aesthetic sensibility, so did imayo . Indeed, in power, utility, and effect imayo is just as potent as waka , if not superior.

- continue reading

- source : University of California Press -

In a former life 後白河法皇 Emperor Goshirakawa had been a mountain priest named 蓮華坊 Renge-Bo
- - - - - . Rite of the Willow 柳枝のお加持 .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #rosaibushi #imayo -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

3/22/2013

shinise traditional store

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

shinise　老舗　a long-established store
traditional store, store with a long history of at least 5 generations

There were many shinise in Edo, some holding on to our time of Tokyo.
A lot of them are located around Nihonbashi, since that was the center of commerce in Edo, with easy access for boats from Osaka and other parts of Japan via the canals.

One important item of a shop was its

. noren 暖簾 door curtain .

noren o wakeru　暖簾を分ける　to share a noren, give the same noren to someone else, for example a child or worker who has the trust of the store keeper. Setting up a branch store.

noren o mamoru 暖簾を守る "to protect the noren", keep the good traditions up.

noren ni kizu ga tsuku　暖簾に傷がつく "the noren has been wounded" or soiled,
the good reputation of the store has been damaged

shinise is a word used by others to compliment a good traditional store, it is not a word that the shopkeeper should use when talking about his own business.

..........................................................................

During the Edo period, a book was published with the most popular stores in town.

Edo kaimono hitori annai 江戸買物獨案内 Shopping in Edo
featuring more than 2600 stores and shops.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Some of the stores of Edo were clever enough to have their noren added to woodblock prints of beautiful women - a kind of advertisement of the time.

One favorite was

bien senjokoo 美艶仙女香

The store Sakamotoya 坂本屋 selling oshiroi 白粉 the white powder for faces.

江戸のススメ #50
- reference : edonosusume.jp -

. oshiroi, o-shiroi (hakufun) おしろい / 白粉 white face powder .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

- quote -

Utagawa Kunisada I During the Tempō period (1830-1844)
Shiroki-ya 白木屋（しろきや）
This is a nishiki-e (colored woodblock print) that depicts the front of Shirokiya, which was one of the three major kimono fabrics shops in Edo along with Echigoya (today's Mitsukoshi department store) and Daimaru (today's Daimaru department store). The vicinity of Nihonbashi was a fashion district lined with many kimono shops and cotton shops based in Kyoto, Ise and Matsuzaka.
In 1662 (Kanbun 2), Shirokiya, which was known as a fancy goods/kimono fabrics store in Kyoto, opened a shop on the Nihonbashi-dōri 3-chome. The founder, Kimura Hikotarō from Ōmi (Shiga prefecture) was originally a lumber dealer. Later, he opened a fancy goods store to deal in pipes and other items and started to sell kimonos and cotton afterward. He gradually expanded his business and opened a branch in Edo. During the prime time of his business, he operated shops in Ichigaya, Tomizawa-chō, Bakuro-chō, and 150 employees were working at the branch in Nihonbashi.
Another noted product of Shiroki-ya was fresh water from the well that was dug by Hikotarō, a successor to the founder. The water around Nihonbashi was strongly contaminated with salt, and high-quality water was scarce, which made this well water widely known as "Shiraki Meisui" (best and famous water)."
- source : Tokyo Metropolitan Library -

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

quote
The Nihonbashi bridge served as the starting point for the five Gokaido roads, and the Nihonbashi area thrived as the center of Japan's economy in the Edo period. This area still features numerous longstanding shops that continue to do business today while preserving and cultivating Japanese traditions.
This page introduces famous shops and restaurants that are unique to the Nihonbashi area. Here you will find places that serve up the "flavors of Edo," cultivated over a long history. You'll also find shops that sell masterwork craft objects for everyday life made by artisans who have inherited longstanding lineages of traditional techniques.

Edo Gourmet Cuisine
Nihonbashi Benmatsu-Souhonten (lunch boxes for celebrations) 弁松
Ningyocho Imahan (sukiyaki and shabu-shabu)
Ningyocho Shinodazushi Souhonten (sushi)
Tenmo (tempura)
Toriyasu (aigamo duck cuisine)

Edo Specialties
Eitaro Sohonpo (Japanese sweets)
Kanmo (hanpen and kamaboko fish cakes)
. Ninben (dried bonito flakes and seasonings) .
Nihonbashi-Funasa (tsukudani: fish boiled in soy sauce)
Ningyoyaki Honpo Itakuraya (Ningyoyaki: small buns with the faces of deities)
Sembikiya-Sohonten (fruit, fruit parlor, restaurant)
Yamamoto Noriten (nori (dried seaweed))
Yamamotoyama (teas and nori (dried seaweed))

Edo Masterworks
Chikusen (yukata robes) . Edo Yukata　江戸浴衣 .
Edoya (brushes)
Haibara (Japanese paper)
Hamacho Takatora (dyed goods)
Ibasen (folding "sensu" fans and handheld "uchiwa" fans)
Kiya (blades and daily tools)
Kuroeya (lacquer ware)
Murata-Gankyoho (glasses)
Ozu Washi (Japanese paper)
Saruya (toothpicks)
Shirokiya Denbe (brooms)
Ubukeya (knives, scissors, and tweezers)
Zohiko (lacquer ware)

- - - - check the hyperlinks :
source : nihonbashi-tokyo.jp

..........................................................................

assorted crackers from Asakusa shinise

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

. Echigoya 越後屋 and Mitsui　三井 Mitsui Kimono Fabric Shop .

. gooshoo 豪商 The rich merchants of Edo .

. Nihonbashi in Edo 日本橋　 .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

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

百年の老舗を守り藍植うる
hyakunen no shinise o mamori ai uuru

they protect the store
of a hundred years history -
planting indigo
Tr. Gabi Greve

. Inahata Teiko 稲畑汀子 .

....................................................................................................................................................

うぐひすや暗き老舗の吉野葛斎藤道子
きさらぎの一夜をやどる老舗かな飯田蛇笏山廬集
どぜう鍋老舗の床の黒光り村井信子
はとバスが老舗に並ぶ鰻の日中西永年(橡)
ほの暗き京の老舗や白桔梗岡部名保子
まだ栄ゆ老舗猿飴七五三水原秋桜子
もてなしは祇園老舗の花氷水原春郎
ゆきずりの老舗で買ひぬ笹粽高見孝子

カステラの老舗灯す夏暖簾中尾杏子
ビルの間の老舗さきがけ松立つる和田暖泡
ブティックの隣の老舗年守る和田郁子
今に尚火桶使ひて老舗なる服部夢酔
仕事場の見ゆる老舗や柏餅真乗坊とみゑ
修司の遺影かんかん帽を置く老舗遠井雨耕
初桜老舗に飾る菓子木型鈴木フミ子
吊し柿して奈良墨の老舗たり伊藤柏翠
品書の煤け老舗のどぜう鍋瀬川としひで

夜も更けて霧に灯ながす老舗宿高澤良一素抱
大羽子板老舗の帳場ふさぎけり佐藤瑠璃
姑より嫁が呆けて老舗の冬宮坂静生青胡桃
子燕の老舗育ちと駅育ち小野とみゑ
巣燕に墨の老舗の太格子岡本差知子
御題菓子並び老舗のにぎはへり池田栄子
数へ日や老舗の土間の大かまど小林沙久子
新海苔やビルに老舗の暖簾かけ黒米松青子
新茶汲む狭山老舗に茶の香満ち及川貞夕焼
春寒しさら地となりし老舗跡山内功

水かげろふ映る老舗の春障子廣田宏美
水取を待つ奈良ぞ佳き墨老舗桂樟蹊子
水打つて老舗の灯影息づけり鈴木漱玉
水打つて葛の老舗も吉野建中村陽子

甘酒の老舗はくらし年の市水原秋桜子
甘酒の老舗はくらし歳の市秋櫻子
白牡丹河岸の老舗夕かげる柴田白葉女遠い橋

秋時雨みちのく老舗蔵づくり福田蓼汀秋風挽歌
自動ドア付けて老舗のさくら餅八巻絹子
草餅や橋のたもとにして老舗飴山實
蓬莱や老舗めでたき御用墨高橋淑子
藪入りの死語となりたる老舗町佐藤豊
西陣の老舗や寒の竹暖簾中松疎水
走り蕎麦老舗奥行深きかな水原春郎
鉾粽飛び交ふ下の老舗かな佐々木紅春
鎌倉彫老舗のおかみ秋袷矢澤一止
雛納して閉店となる老舗稲畑廣太郎
香焚いて雪の老舗のクリスマス伊東宏晃
鮟鱇鍋老舗しづかに客満ちて佐久間木耳郎
黄落や老舗床屋の回転灯長田青蝉

source : HAIKUreikuDB

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #shinise #store #shirokiya -

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::　

3/16/2013

Nami no Ihachi

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

Nami no Ihachi　波の伊八 "Ihachi the carver of waves"

Nami-no-Ihachi　(1751-1824)

Nami-no-Ihachi's dramatic wood carvings of the waves of Chiba's Sotobo coast reportedly influenced Katsushika Hokusai, one of Japan's most well-known artists.

also introducing

Hishikawa Moronobu (c.1630-1694)
Hishikawa is said to be the father of Japan’s Ukiyo-e style of art. His masterpiece, "Mikaeri bijin", was famously used on a Japanese postal stamp.

source : www.pref.chiba.lg.jp

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Kamogawa, Chiba - 鴨川市 - 長狭芸術

Yakuoin Temple　
Visitors are welcomed by a group of Kongoukai Dainichi Nyorai stone statues when they go up the cedar-surrounded path. Ahead of that, there is the pyramidal-roofed Yakushido hall, which was built in 1648. It is becoming quite damaged, but it still is a tranquil temple which strongly represents the style of temples built in the medieval times. In the main hall, there are the fan light sculptures (dragon & tiger image) and the kohai-ryu (flying dragon) created by Takeshi Ihachi the First 武志伊八 when he was 29 years old.

The Ihachi's House Ruins　
In 2005, a part of the remains of Takeshi Ihachi's manor was leveled and became a cemetery. A Kuyomon emblem is engraved on the Takeshi family's tombstone that was built there. It is notable that, even though he was an apprentice of Shimamura-style sculptor Shimamura Teiryo, he called himself Takeshi Ihachi right from the beginning and never carried the "Shimamura" name. By a fairly recent survey, it is considered that the fact that he was a descendant of the Takeshi family, a member of the Chiba clan, became the possible reason why he called himself Takeshi from the beginning.

Konjoin Temple　
Possibly because Konjoin Temple is next (or opposite?) to Takeshi Ihachi's house, it stores many of Ihachi's works. When visitors walk up the stairs, they are greeted by a sculpture of sea waves (the Fourth & Fifth) - as if to display his trademark "Ihachi of Waves" - that decorates the entire Niou Gate. In the Dainichi Hall, visitors can see the kohai-ryu (flying dragon) and the fan light sculpture (images of shusen), which Ihachi the First curved when he was 28 years old.

Saifukuji Temple　

In Kamogawa, there are many temples with traces of the primary school construction period during the Meiji era. Saifukuji Temple was also a substitute school building for Takehira Primary School. Koizumi Chikashi, a poet, left a Teacher Training School in 1901 and was employed by this Takehira Primary School at the age of 16. Here, Koizumi Chikashi wrote many poems while struggling with romantic dilemmas. Visitors can also see fan light sculptures - Nami ni Ryu (Dragon Among Waves) and Shichifukujin (The Seven Gods of Good Fortune) - by Ihachi the First when he was young.

Kippo Hachiman Jinja Shrine
Currently, the only place where the Yabusame ritual is still continued is Kippohachiman, but in the early Showa Era, it took place in 5 places. In the shrine records, it is told that the shrine was built in 829, was rebuilt in about 1445 by the Satomi clan's follower Ogata Shigetsugu and the Yabusame ritual originated in the mid-Kamakura Period. Kippohachiman's main shrine is a distinctive style, surrounded by a lake like an island, and there is a kohai-ryu (flying dragon) sculpture made by Ihachi the First.
source : www.resort-kamogawa.net

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Dragon - waves　竜と波

Temple Iizuna dera, Misaki town 飯縄寺　岬町
Chiba

source : joe-inger-91.blog.so-net.ne.jp

高宕山源頼朝と天狗面 Takagoyama and the Tengu Mask of Minamoto to Yoritomo
飯縄寺 Iizunadera Temple (Iinawadera)

牛若丸と大天狗 Ushiwakamaru and the Dai-Tengu

. Chiba and its Tengu legends 千葉県と天狗伝説　 .

..........................................................................................................................................................

and
Kamogawa, Chiba

大山不動尊, 安房

伊八の波の彫り物をみた葛飾北斎は富岳三十六景の「平塚沖波」でその風景を模写し、欧州でその展覧会を見たドビュッシーが「ラ・メール」を作曲したというエピソードは、知っての通りです。

source : janjan.voicejapan.org

..........................................................................................................................................................

. . . CLICK here for Photos !

. Daruma Museum - Dragon Art Gallery .

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #naminoihachi #ihachicarver -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

3/08/2013

ISSA - Tale of Genji

In the first half of the first month (February) of 1820, a couple of weeks after the end of the year evoked in Year of My Life, Issa composed in his diary a series of five hokku on The Tale of Genji, probably Japan's most famous work of prose fiction, written by Lady Murasaki in the early 11th century. The Genji hokku begin with the fourth hokku in the series translated below, since the first three hokku help to establish the context. A few comments follow after the translations.

as tasty as human flesh!
I set the louse crawling
on a pomegranate

1. hito-aji no zakuro e hawasu shirami kana

a louse in paradise --
I let it crawl into
my sleeve

2. higan tote sode ni hawasuru shirami kana

don't cry, don't cry
or a demon will get you --
night shower in winter

3. naku na naku na oni ga sarau zo sayo-shigure

Ukifune

bush warbler --
in the rough hut
fragrant prince Niou

4. uguisu ya waraya ni niou hyoubukyou

Kiritsubo
Prince Genji lost his mother when he was three, and I also lost my mother at three.

we're both motherless
but I'm a firefly
that doesn't shine

5. minashigo no ware wa hikaranu hotaru kana

rainy night --
I carefully compare
potted peonies

6. ame no yo ya hachi no botan no shina-sadame

brushwood fence --
escaping a bad direction
in a cool shadow

7. shiba-gaki ya suzushiki kage ni kata-tagae

Utsusemi

how dear she was
how beloved -- a cicada's
cast-off cloak

8. natsukashi ya yukashi ya semi no sute-goromo

******************

In the first, half-humorous hokku, Issa continues with a theme he develops in Year of My Life: the importance of not killing other creatures. It was believed that the taste of pomegranate fruit was similar to the taste of human flesh, so Issa, not wanting to kill the louse, hopes to keep it satisfied by taking it from his skin placing it onto the skin of a pomegranate.

In the second hokku, Issa allows another louse to go inside his wide sleeve, where it can bite his arm and other parts of his body. The blissful louse seems to be in paradise -- literally on the Buddhist Other Shore, which to Issa usually meant the Pure Land -- and Issa doesn't want to spoil its rapture. One other interpretation would be that the time is now the spring Other Shore (Higan) prayer week, centering on the vernal equinox, about five weeks after Issa is writing. During this time of deep thought and prayers, Issa might feel he must not kill lice:

spring prayer week --
I let a louse crawl
into my sleeve

However, this reading would imply that at other times killing lice might be permitted.

The third hokku creates a lullaby-like rhythm, though the soft song is Issa's interpretation of the sound of the cold night rain shower outside. The early thaw that year may also have reminded Issa of lullabies -- perhaps of lullabies his wife used to sing to his young daughter, who died on 6/21 of the previous year. The content of the song sounds frightening to adults, though it was typical for Issa's time. But who is the rain singing to now? Is Issa telling himself not to give in to self-pity and further weeping for his daughter? Is Issa remembering a part of a song his mother sang to him when he was very young? Are his memories eating into his body and mind a little like lice?

The fourth hokku has the name of a female character from The Tale of Genji placed before it. A young woman referred to as Ukifune, Floating Boat, is being pursued by two rival courtiers from Kyoto in the final chapters of the long novel/tale, chapters that follow the death of prince Genji, the main male protagonist. It seems a little surprising that Issa would begin his series of hokku on Genji with a character from the end of the book, after Genji is gone, but perhaps Ukifune, who becomes deeply unhappy about being the object of two men's competition, seems to express Issa's own feeling of loss after the death of his first two children.

The hokku evokes one of the rivals, the playboy prince Niou, whose name means a perfumed scent. He is very dashing and handsome, and he is compared with a bush warbler (uguisu) singing sweetly in early spring at one point in the book. In the hokku, the warbler is singing outside Issa's thatched house, while the scent of the plum blossoms comes inside the house. Issa himself seems to be in the position of the woman Ukifune, into whose country house in Uji prince Niou slips in Chapter 51 of Genji and abducts her like the demon in the previous hokku. The sweet-talking prince takes Ukifune to a rundown house and there seduces her, causing her to later attempt suicide and, when that fails, to become a nun and reject both suitors. This hokku makes one wonder whether Issa or his wife had contemplated suicide the previous year.

The fifth hokku leaps to the first chapter of Genji, named after prince Genji's mother, deeply loved by the emperor but without any powerful relatives to support her at court. Constantly harassed by those at court jealous of her closeness to the emperor, Kiritsubo falls ill and returns home to the country, where she soon dies. Genji is only three at the time by Japanese counting, Issa's age when his mother died. Issa enjoys this formal similarity, which ironically makes him feel lacking in almost everything Hikaru Genji, the "shining prince," had. Issa half-humorously compares himself to a firefly which can't shine (an image that makes this a summer hokku). Still, he may be acknowledging that many of the women prince Genji loves in the book are similar in some way or another to Genji's dead mother. Is Issa also suggesting that he feels his wife reminds him of his mother and her lullabies?

In the sixth hokku Issa again continues to compare himself with prince Genji. In one of the most famous scenes in The Tale of Genji, in Chapter 2 the 17-year-old Genji and some other young men pass time on a rainy summer night by describing different kinds of women and discussing which type is most attractive. It is a thoroughly young-male-centered discussion which Lady Murasaki evokes with wonderful irony, though many generations of male readers have given the scene such a special prominence, as if it were a key to the whole novel, that the phrase "appraising/judging on a rainy night" has entered ordinary Japanese as an idiom. Issa seems to be using it mainly ironically, as a foil against which to compare himself.

Although Genji and other courtiers were constantly having affairs with beautiful, intelligent, and sensitive women who could write outstanding waka at a moment's notice, the only thing Issa has to judge on this rainy night are some winter peonies lined up in pots -- although he is not, of course, denying the beauty of the peonies. Or perhaps this is a summer verse, since the rainy night in Genji takes place in summer, and in this hokku it may be that it is the season in Genji that is most important. In any case, Issa seems to be indirectly mourning the loss of his mother and his daughter.

In the seventh verse, Issa compares himself a third time with Genji, who consults a yin-yang fortune teller before he travels outside the palace. If the direction in which he wanted to travel was full of negative energy on a certain day, his route would be changed, and he would stay the previous night somewhere in a safe direction and then set out from there for his destination the next morning. This seems to be a summer hokku, so Issa is probably continuing to refer to Chapter 2 of Genji, in which the rainy night scene is followed by a section on prince Genji avoiding travel in a certain unlucky direction. Issa may be overlapping himself with the prince and redefining the meaning of "bad/dangerous direction." For Issa bad seems to mean walking in the heat of the sun on a hot summer day, and a good/lucky direction is one in which there is cool shade. He stays close to a brushwood fence and may now be standing in the shadow of the house beyond the fence.

The eighth hokku has a headnote that refers to the name Lady Murasaki gives a women prince Genji loves in Chapter 3 of the book, Utsusemi, or Cicada Shell Woman. After a single night of love, the woman rejects Genji, and when he is helped by her brother to spy on her in her home, she catches the scent of his incense and rushes off, leaving behind her outer cloak, which she'd taken off in the summer heat. Not long after, Genji writes a poem comparing her outer cloak to the shell left behind by a cicada. Genji later tries again to approach her, and he is again unsuccessful: after her husband's death she becomes a nun. The hokku represents Genji's feelings toward Utsusemi after her refusal to meet a second time, but Issa also seems to be playing on another meaning of cicada shell, a common image for mortality and the transience of all things. Genji's loss of Utsusemi and his obsession with the cloak she left behind are matched by Issa's loss of his beloved daughter and his inability to stop thinking about her.

After these hokku about prince Genji, the hokku in Issa's diary seem to return to the present of the first month, and the subjects change back to images typical of that season. The way Issa momentarily overlaps himself with and also distances himself from prince Genji is striking, as is the mixture of an elegiac tone with ironic humor. The images also probably reflect the simultaneous efforts of Issa and his wife to make another child, and they certainly succeeded, since their second son Ishitaro, or Big Rock, was born nine months later.

Chris Drake

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

. WKD : Genji Monogatari 源氏物語 The Tale of Genji .

Latest updates about Issa on facebook - CLICK to join !

. WKD : Kobayashi Issa 小林一茶 .

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

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::