Edo - the EDOPEDIA -

3/28/2013

ISSA - Cultural Keywords

. WKD : Kobayashi Issa 小林一茶 - Introduction .

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- issaculturalkeywords #issaabc -
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3/23/2013

Buson - Reference

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Yosa Buson 与謝蕪村
(1715-1783)

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

under construction
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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 - .

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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

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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

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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

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

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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

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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

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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

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To join BUSON on Facebook, click the image!

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. WKD : Yosa Buson 与謝蕪村 .

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yosabuson ##buson
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rosai-bushi song

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- - - - - 今様 Imayo, see below
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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.

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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 ?

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- 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 -

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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 .

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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 .

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