10/27/2014

Ronin Chushingura

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. Takanawa district 高輪, Takanawadai 高輪台     .
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47 Ronin and the Chushingura 47浪人 / 忠臣蔵 

. temple Sengaku-ji 泉岳寺 .
- Introduction to the Chushingura event -

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. Algernon Bertram Freeman-Mitford アルジャーノン・フリーマン=ミットフォード .
Tales of Old Japan (1871)

The Forty-Seven rônins
For many years, the version of events retold by A. B. Mitford in Tales of Old Japan (1871) was considered authoritative. The sequence of events and the characters in this narrative were presented to a wide popular readership in the West. Mitford invited his readers to construe his story of the Forty-seven Ronin as historically accurate; and while his version of the tale has long been considered a standard work, some of its precise details are now questioned. Nevertheless, even with plausible defects, Mitford's work remains a conventional starting point for further study.

Whether as a mere literary device or as a claim for ethnographic veracity, Mitford explains:

In the midst of a nest of venerable trees in Takanawa, a suburb of Yedo, is hidden Sengakuji, or the Spring-hill Temple, renowned throughout the length and breadth of the land for its cemetery, which contains the graves of the Forty-seven Rônin, famous in Japanese history, heroes of Japanese drama, the tale of whose deed I am about to transcribe.
— Mitford, A. B.

Mitford appended what he explained were translations of Sengakuji documents the author had examined personally. These were proffered as "proofs" authenticating the factual basis of his story. These documents were:

...the receipt given by the retainers of Kira Kôtsuké no Suké's son in return for the head of their lord's father, which the priests restored to the family.
...a document explanatory of their conduct, a copy of which was found on the person of each of the forty-seven men, dated in the 15th year of Genroku, 12th month.
...a paper which the Forty-seven Rǒnin laid upon the tomb of their master, together with the head of Kira Kôtsuké no Suké.
- - - More in the WIKIPEDIA !

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THE FORTY-SEVEN RÔNINS
- source : www.gutenberg.org

The books which have been written of late years about Japan have either been compiled from official records, or have contained the sketchy impressions of passing travellers. Of the inner life of the Japanese the world at large knows but little: their religion, their superstitions, their ways of thought, the hidden springs by which they move—all these are as yet mysteries. Nor is this to be wondered at. The first Western men who came in contact with Japan—I am speaking not of the old Dutch and Portuguese traders and priests, but of the diplomatists and merchants of eleven years ago—met with a cold reception. Above all things, the native Government threw obstacles in the way of any inquiry into their language, literature, and history. The fact was that the Tycoon's Government—with whom alone, so long as the Mikado remained in seclusion in his sacred capital at Kiôto, any relations were maintained—knew that the Imperial purple with which they sought to invest their chief must quickly fade before the strong sunlight which would be brought upon it so soon as there should be European linguists capable of examining their books and records.

No opportunity was lost of throwing dust in the eyes of the new-comers, whom, even in the most trifling details, it was the official policy to lead astray. Now, however, there is no cause for concealment; the Roi Fainéant has shaken off his sloth, and his Maire du Palais, together, and an intelligible Government, which need not fear scrutiny from abroad, is the result: the records of the country being but so many proofs of the Mikado's title to power, there is no reason for keeping up any show of mystery. The path of inquiry is open to all; and although there is yet much to be learnt, some knowledge has been attained, in which it may interest those who stay at home to share.

The recent revolution in Japan has wrought changes social as well as political; and it may be that when, in addition to the advance which has already been made, railways and telegraphs shall have connected the principal points of the Land of Sunrise, [pg 2] the old Japanese, such as he was and had been for centuries when we found him eleven short years ago, will have become extinct. It has appeared to me that no better means could be chosen of preserving a record of a curious and fast disappearing civilization than the translation of some of the most interesting national legends and histories, together with other specimens of literature bearing upon the same subject. Thus the Japanese may tell their own tale, their translator only adding here and there a few words of heading or tag to a chapter, where an explanation or amplification may seem necessary. I fear that the long and hard names will often make my tales tedious reading, but I believe that those who will bear with the difficulty will learn more of the character of the Japanese people than by skimming over descriptions of travel and adventure, however brilliant. The lord and his retainer, the warrior and the priest, the humble artisan and the despised Eta or pariah, each in his turn will become a leading character in my budget of stories; and it is out of the mouths of these personages that I hope to show forth a tolerably complete picture of Japanese society.

Having said so much by way of preface, I beg my readers to fancy themselves wafted away to the shores of the Bay of Yedo—a fair, smiling landscape: gentle slopes, crested by a dark fringe of pines and firs, lead down to the sea; the quaint eaves of many a temple and holy shrine peep out here and there from the groves; the bay itself is studded with picturesque fisher-craft, the torches of which shine by night like glow-worms among the outlying forts; far away to the west loom the goblin-haunted heights of Oyama, and beyond the twin hills of the Hakoné Pass—Fuji-Yama, the Peerless Mountain, solitary and grand, stands in the centre of the plain, from which it sprang vomiting flames twenty-one centuries ago.1 For a hundred and sixty years the huge mountain has been at peace, but the frequent earthquakes still tell of hidden fires, and none can say when the red-hot stones and ashes may once more fall like rain over five provinces.

In the midst of a nest of venerable trees in Takanawa, a suburb of Yedo, is hidden Sengakuji, or the Spring-hill Temple, renowned throughout the length and breadth of the land for its cemetery, [pg 3] which contains the graves of the Forty-seven. Rônins,2 famous in Japanese history, heroes of Japanese drama, the tale of whose deeds I am about to transcribe.

On the left-hand side of the main court of the temple is a chapel, in which, surmounted by a gilt figure of Kwanyin, the goddess of mercy, are enshrined the images of the forty-seven men, and of the master whom they loved so well. The statues are carved in wood, the faces coloured, and the dresses richly lacquered; as works of art they have great merit—the action of the heroes, each armed with his favourite weapon, being wonderfully life-like and spirited. Some are venerable men, with thin, grey hair (one is seventy-seven years old); others are mere boys of sixteen. Close by the chapel, at the side of a path leading up the hill, is a little well of pure water, fenced in and adorned with a tiny fernery, over which is an inscription, setting forth that "This is the well in which the head was washed; you must not wash your hands or your feet here." A little further on is a stall, at which a poor old man earns a pittance by selling books, pictures, and medals, commemorating the loyalty of the Forty-seven; and higher up yet, shaded by a grove of stately trees, is a neat inclosure, kept up, as a signboard announces, by voluntary contributions, round which are ranged forty-eight little tombstones, each decked with evergreens, each with its tribute of water and incense for the comfort of the departed spirit. There were forty-seven Rônins; there are forty-eight tombstones, and the story of the forty-eighth is truly characteristic of Japanese ideas of honour. Almost touching the rail of the graveyard is a more imposing monument under which lies buried the lord, whose death his followers piously avenged.


THE RÔNINS INVITE KÔTSUKÉ NO SUKÉ TO PERFORM HARA-KIRI


- - - - - And now for the story.

At the beginning of the eighteenth century there lived a daimio, called Asano Takumi no Kami, the Lord of the castle of Akô, in [pg 4] the province of Harima. Now it happened that an Imperial ambassador from the Court of the Mikado having been sent to the Shogun3 at Yedo, Takumi no Kami and another noble called Kamei Sama were appointed to receive and feast the envoy; and a high official, named Kira Kôtsuké no Suké, was named to teach them the proper ceremonies to be observed upon the occasion. The two nobles were accordingly forced to go daily to the castle to listen to the instructions of Kôtsuké no Suké. But this Kôtsuké no Suké was a man greedy of money; and as he deemed that the presents which the two daimios, according to time-honoured custom, had brought him in return for his instruction, were mean and unworthy, he conceived a great hatred against them, and took no pains in teaching them, but on the contrary rather sought to make laughing-stocks of them. Takumi no Kami, restrained by a stern sense of duty, bore his insults with patience; but Kamei Sama, who had less control over his temper, was violently incensed, and determined to kill Kôtsuké no Suké.


THE WELL IN WHICH THE HEAD WAS WASHED.

One night when his duties at the castle were ended, Kamei Sama returned to his own palace, and having summoned his [pg 5] councillors4 to a secret conference, said to them: "Kôtsuké no Suké has insulted Takumi no Kami and myself during our service in attendance on the Imperial envoy. This is against all decency, and I was minded to kill him on the spot; but I bethought me that if I did such a deed within the precincts of the castle, not only would my own life be forfeit, but my family and vassals would be ruined: so I stayed my hand. Still the life of such a wretch is a sorrow to the people, and to-morrow when I go to Court I will slay him: my mind is made up, and I will listen to no remonstrance." And as he spoke his face became livid with rage.

Now one of Kamei Sama's councillors was a man of great judgment, and when he saw from his lord's manner that remonstrance would be useless, he said: "Your lordship's words are law; your servant will make all preparations accordingly; and to-morrow, when your lordship goes to Court, if this Kôtsuké no Suké should again be insolent, let him die the death." And his lord was pleased at this speech, and waited with impatience for the day to break, that he might return to Court and kill his enemy.

But the councillor went home, and was sorely troubled, and thought anxiously about what his prince had said. And as he reflected, it occurred to him that since Kôtsuké no Suké had the reputation of being a miser he would certainly be open to a bribe, and that it was better to pay any sum, no matter how great, than that his lord and his house should be ruined. So he collected all the money he could, and, giving it to his servants to carry, rode off in the night to Kôtsuké no Suké's palace, and said to his retainers: "My master, who is now in attendance upon the Imperial envoy, owes much thanks to my Lord Kôtsuké no Suké, who has been at so great pains to teach him the proper ceremonies to be observed during the reception of the Imperial envoy. This is but a shabby present which he has sent by me, but he hopes that his lordship will condescend to accept it, and commends himself to his lordship's favour." And, with these words, he produced a thousand ounces of silver for Kôtsuké no Suké, and a hundred ounces to be distributed among his retainers.

When the latter saw the money their eyes sparkled with pleasure, and they were profuse in their thanks; and begging the councillor to wait a little, they went and told their master of the lordly present which had arrived with a polite message from Kamei Sama. Kôtsuké no Suké in eager delight sent for the councillor into an inner chamber, and, after thanking him, promised on the morrow to instruct his master carefully in all the different points of etiquette. So the councillor, seeing the miser's glee, rejoiced at the success of his plan; and having taken his [pg 6] leave returned home in high spirits. But Kamei Sama, little thinking how his vassal had propitiated his enemy, lay brooding over his vengeance, and on the following morning at daybreak went to Court in solemn procession.

When Kôtsuké no Suké met him his manner had completely changed, and nothing could exceed his courtesy. "You have come early to Court this morning, my Lord Kamei," said he. "I cannot sufficiently admire your zeal. I shall have the honour to call your attention to several points of etiquette to-day. I must beg your lordship to excuse my previous conduct, which must have seemed very rude; but I am naturally of a cross-grained disposition, so I pray you to forgive me." And as he kept on humbling himself and making fair speeches, the heart of Kamei Sama was gradually softened, and he renounced his intention of killing him. Thus by the cleverness of his councillor was Kamei Sama, with all his house, saved from ruin.

Shortly after this, Takumi no Kami, who had sent no present, arrived at the castle, and Kôtsuké no Suké turned him into ridicule even more than before, provoking him with sneers and covert insults; but Takumi no Kami affected to ignore all this, and submitted himself patiently to Kôtsuké no Suké's orders.

This conduct, so far from producing a good effect, only made Kôtsuké no Suké despise him the more, until at last he said haughtily: "Here, my Lord of Takumi, the ribbon of my sock has come untied; be so good as to tie it up for me."

Takumi no Kami, although burning with rage at the affront, still thought that as he was on duty he was bound to obey, and tied up the ribbon of the sock. Then Kôtsuké no Suké, turning from him, petulantly exclaimed: "Why, how clumsy you are! You cannot so much as tie up the ribbon of a sock properly! Any one can see that you are a boor from the country, and know nothing of the manners of Yedo." And with a scornful laugh he moved towards an inner room.

But the patience of Takumi no Kami was exhausted; this last insult was more than he could bear.
"Stop a moment, my lord," cried he.

"Well, what is it?" replied the other. And, as he turned round, Takumi no Kami drew his dirk, and aimed a blow at his head; but Kôtsuké no Suké, being protected by the Court cap which he wore, the wound was but a scratch, so he ran away; and Takumi no Kami, pursuing him, tried a second time to cut him down, but, missing his aim, struck his dirk into a pillar. At this moment an officer, named Kajikawa Yosobei, seeing the affray, rushed up, and holding back the infuriated noble, gave Kôtsuké no Suké time to make good his escape.

Then there arose a great uproar and confusion, and Takumi no Kami was arrested and disarmed, and confined in one of the apartments of the palace under the care of the censors. A council was held, and the prisoner was given over to the safeguard of a daimio, called Tamura Ukiyô no Daibu, who kept him in close custody in his own house, to the great grief of his wife and of his retainers; and when the deliberations of the council were completed, it was decided that, as he had committed an outrage and attacked another man within the precincts of the palace, he must perform hara-kiri,—that is, commit suicide by disembowelling; his goods must be confiscated, and his family ruined. Such was the law. So Takumi no Kami performed hara-kiri, his castle of Akô was confiscated, and his retainers having become Rônins, some of them took service with other daimios, and others became merchants.

. Tamura Tatsuaki 田村建顕 (1656 - 1708) .

Now amongst these retainers was his principal councillor, a man called Oishi Kuranosuké, who, with forty-six other faithful dependants, formed a league to avenge their master's death by killing Kôtsuké no Suké. This Oishi Kuranosuké was absent at the castle of Akô at the time of the affray, which, had he been with his prince, would never have occurred; for, being a wise man, he would not have failed to propitiate Kôtsuké no Suké by sending him suitable presents; while the councillor who was in attendance on the prince at Yedo was a dullard, who neglected this precaution, and so caused the death of his master and the ruin of his house.

So Oishi Kuranosuké and his forty-six companions began to lay their plans of vengeance against Kôtsuké no Suké; but the latter was so well guarded by a body of men lent to him by a daimio called Uyésugi Sama, whose daughter he had married, that they saw that the only way of attaining their end would be to throw their enemy off his guard. With this object they separated and disguised themselves, some as carpenters or craftsmen, others as merchants; and their chief, Kuranosuké, went to Kiôto, and built a house in the quarter called Yamashina, where he took to frequenting houses of the worst repute, and gave himself up to drunkenness and debauchery, as if nothing were further from his mind than revenge. Kôtsuké no Suké, in the meanwhile, suspecting that Takumi no Kami's former retainers would be scheming against his life, secretly sent spies to Kiôto, and caused a faithful account to be kept of all that Kuranosuké did. The latter, however, determined thoroughly to delude the enemy into a false security, went on leading a dissolute life with harlots and winebibbers. One day, as he was returning home drunk from some low haunt, he fell down in the street and went to sleep, and all the passers-by laughed him to scorn. It happened that a Satsuma man saw this, and said: "Is not this Oishi Kuranosuké, who was a councillor of Asano Takumi no Kami, and who, not having the heart to avenge his lord, gives himself up to women and wine? See how he lies drunk in the public street! Faithless beast! Fool and craven! Unworthy the name of a Samurai!"



THE SATSUMA MAN INSULTS OISHI KURANOSUKÉ.

And he trod on Kuranosuké's face as he slept, and spat upon him; but when Kôtsuké no Suké's spies reported all this at Yedo, he was greatly relieved at the news, and felt secure from danger.

One day Kuranosuké's wife, who was bitterly grieved to see her husband lead this abandoned life, went to him and said: "My lord, you told me at first that your debauchery was but a trick to make your enemy relax in watchfulness. But indeed, indeed, this has gone too far. I pray and beseech you to put some restraint upon yourself."

"Trouble me not," replied Kuranosuké, "for I will not listen to your whining. Since my way of life is displeasing to you, I will divorce you, and you may go about your business; and I will buy some pretty young girl from one of the public-houses, and marry her for my pleasure. I am sick of the sight of an old woman like you about the house, so get you gone—the sooner the better."

So saying, he flew into a violent rage, and his wife, terror-stricken, pleaded piteously for mercy.

"Oh, my lord! unsay those terrible words! I have been your faithful wife for twenty years, and have borne you three children; in sickness and in sorrow I have been with you; you cannot be so cruel as to turn me out of doors now. Have pity! have pity!"

"Cease this useless wailing. My mind is made up, and you must go; and as the children are in my way also, you are welcome to take them with you."

When she heard her husband speak thus, in her grief she sought her eldest son, Oishi Chikara, and begged him to plead for her, and pray that she might be pardoned. But nothing would turn Kuranosuké from his purpose, so his wife was sent away, with the two younger children, and went back to her native place. But Oishi Chikara remained with his father.

The spies communicated all this without fail to Kôtsuké no Suké, and he, when he heard how Kuranosuké, having turned his wife and children out of doors and bought a concubine, was grovelling in a life of drunkenness and lust, began to think that he had no longer anything to fear from the retainers of Takumi no Kami, who must be cowards, without the courage to avenge their lord. So by degrees he began to keep a less strict watch, and sent back half of the guard which had been lent to him by his father-in-law, Uyésugi Sama. Little did he think how he was falling into the trap laid for him by Kuranosuké, who, in his zeal to slay his lord's enemy, thought nothing of divorcing his wife and sending away his children! Admirable and faithful man!

In this way Kuranosuké continued to throw dust in the eyes of his foe, by persisting in his apparently shameless conduct; but his associates all went to Yedo, and, having in their several capacities as workmen and pedlars contrived to gain access to Kôtsuké no Suké's house, made themselves familiar with the plan of the building and the arrangement of the different rooms, [pg 10] and ascertained the character of the inmates, who were brave and loyal men, and who were cowards; upon all of which matters they sent regular reports to Kuranosuké. And when at last it became evident from the letters which arrived from Yedo that Kôtsuké no Suké was thoroughly off his guard, Kuranosuké rejoiced that the day of vengeance was at hand; and, having appointed a trysting-place at Yedo, he fled secretly from Kiôto, eluding the vigilance of his enemy's spies. Then the forty-seven men, having laid all their plans, bided their time patiently.

It was now midwinter, the twelfth month of the year, and the cold was bitter. One night, during a heavy fall of snow, when the whole world was hushed, and peaceful men were stretched in sleep upon the mats, the Rônins determined that no more favourable opportunity could occur for carrying out their purpose. So they took counsel together, and, having divided their band into two parties, assigned to each man his post. One band, led by Oishi Kuranosuké, was to attack the front gate, and the other, under his son Oishi Chikara, was to attack the postern of Kôtsuké no Suké's house; but as Chikara was only sixteen years of age, Yoshida Chiuzayémon was appointed to act as his guardian. Further it was arranged that a drum, beaten at the order of Kuranosuké, should be the signal for the simultaneous attack; and that if any one slew Kôtsuké no Suké and cut off his head he should blow a shrill whistle, as a signal to his comrades, who would hurry to the spot, and, having identified the head, carry it off to the temple called Sengakuji, and lay it as an offering before the tomb of their dead lord. Then they must report their deed to the Government, and await the sentence of death which would surely be passed upon them. To this the Rônins one and all pledged themselves. Midnight was fixed upon as the hour, and the forty-seven comrades, having made all ready for the attack, partook of a last farewell feast together, for on the morrow they must die. Then Oishi Kuranosuké addressed the band, and said—

"To-night we shall attack our enemy in his palace; his retainers will certainly resist us, and we shall be obliged to kill them. But to slay old men and women and children is a pitiful thing; therefore, I pray you each one to take great heed lest you kill a single helpless person." His comrades all applauded this speech, and so they remained, waiting for the hour of midnight to arrive.

When the appointed hour came, the Rônins set forth. The wind howled furiously, and the driving snow beat in their faces; but little cared they for wind or snow as they hurried on their road, eager for revenge. At last they reached Kôtsuké no Suké's house, and divided themselves into two bands; and Chikara, with twenty-three men, went round to the back gate. Then four men, by means of a ladder of ropes which they hung on to the roof of the porch, effected an entry into the courtyard; and, as they saw signs that all the inmates of the house were asleep, [pg 11] they went into the porter's lodge where the guard slept, and, before the latter had time to recover from their astonishment, bound them. The terrified guard prayed hard for mercy, that their lives might be spared; and to this the Rônins agreed on condition that the keys of the gate should be given up; but the others tremblingly said that the keys were kept in the house of one of their officers, and that they had no means of obtaining them. Then the Rônins lost patience, and with a hammer dashed in pieces the big wooden bolt which secured the gate, and the doors flew open to the right and to the left. At the same time Chikara and his party broke in by the back gate.

Then Oishi Kuranosuké sent a messenger to the neighbouring houses, bearing the following message:—"We, the Rônins who were formerly in the service of Asano Takumi no Kami, are this night about to break into the palace of Kôtsuké no Suké, to avenge our lord. As we are neither night robbers nor ruffians, no hurt will be done to the neighbouring houses. We pray you to set your minds at rest." And as Kôtsuké no Suké was hated by his neighbours for his covetousness, they did not unite their forces to assist him. Another precaution was yet taken. Lest any of the people inside should run out to call the relations of the family to the rescue, and these coming in force should interfere with the plans of the Rônins, Kuranosuké stationed ten of his men armed with bows on the roof of the four sides of the courtyard, with orders to shoot any retainers who might attempt to leave the place. Having thus laid all his plans and posted his men, Kuranosuké with his own hand beat the drum and gave the signal for attack.

Ten of Kôtsuké no Suké's retainers, hearing the noise, woke up; and, drawing their swords, rushed into the front room to defend their master. At this moment the Rônins, who had burst open the door of the front hall, entered the same room. Then arose a furious fight between the two parties, in the midst of which Chikara, leading his men through the garden, broke into the back of the house; and Kôtsuké no Suké, in terror of his life, took refuge, with his wife and female servants, in a closet in the verandah; while the rest of his retainers, who slept in the barrack outside the house, made ready to go to the rescue. But the Rônins who had come in by the front door, and were fighting with the ten retainers, ended by overpowering and slaying the latter without losing one of their own number; after which, forcing their way bravely towards the back rooms, they were joined by Chikara and his men, and the two bands were united in one.

By this time the remainder of Kôtsuké no Suké's men had come in, and the fight became general; and Kuranosuké, sitting on a camp-stool, gave his orders and directed the Rônins. Soon the inmates of the house perceived that they were no match for their enemy, so they tried to send out intelligence of their plight to Uyésugi Sama, their lord's father-in-law, begging him to [pg 12] come to the rescue with all the force at his command. But the messengers were shot down by the archers whom Kuranosuké had posted on the roof. So no help coming, they fought on in despair. Then Kuranosuké cried out with a loud voice: "Kôtsuké no Suké alone is our enemy; let some one go inside and bring him forth. dead or alive!"

Now in front of Kôtsuké no Suké's private room stood three brave retainers with drawn swords. The first was Kobayashi Héhachi, the second was Waku Handaiyu, and the third was Shimidzu Ikkaku, all good men and true, and expert swordsmen. So stoutly did these men lay about them that for a while they kept the whole of the Rônins at bay, and at one moment even forced them back. When Oishi Kuranosuké saw this, he ground his teeth with rage, and shouted to his men: "What! did not every man of you swear to lay down his life in avenging his lord, and now are you driven back by three men? Cowards, not fit to be spoken to! to die fighting in a master's cause should be the noblest ambition of a retainer!" Then turning to his own son Chikara, he said, "Here, boy! engage those men, and if they are too strong for you, die!"

Spurred by these words, Chikara seized a spear and gave battle to Waku Handaiyu, but could not hold his ground, and backing by degrees, was driven out into the garden, where he missed his footing and slipped into a pond, but as Handaiyu, thinking to kill him, looked down into the pond, Chikara cut his enemy in the leg and caused him to fall, and then, crawling out of the water dispatched him. In the meanwhile Kobayashi Héhachi and Shimidzu Ikkaku had been killed by the other Rônins, and of all Kôtsuké no Suké's retainers not one fighting man remained. Chikara, seeing this, went with his bloody sword in his hand into a back room to search for Kôtsuké no Suké, but he only found the son of the latter, a young lord named Kira Sahioyé, who, carrying a halberd, attacked him, but was soon wounded and fled. Thus the whole of Kôtsuké no Suké's men having been killed, there was an end of the fighting; but as yet there was no trace of Kôtsuké no Suké to be found.

Then Kuranosuké divided his men into several parties and searched the whole house, but all in vain; women and children weeping were alone to be seen. At this the forty-seven men began to lose heart in regret, that after all their toil they had allowed their enemy to escape them, and there was a moment when in their despair they agreed to commit suicide together upon the spot; but they determined to make one more effort. So Kuranosuké went into Kôtsuké no Suké's sleeping-room, and touching the quilt with his hands, exclaimed, "I have just felt the bed-clothes and they are yet warm, and so methinks that our enemy is not far off. He must certainly be hidden somewhere in the house." Greatly excited by this, the Rônins renewed their search. Now in the raised part of the room, near the place of honour, there was a picture hanging; taking down this picture, they saw that [pg 13] there was a large hole in the plastered wall, and on thrusting a spear in they could feel nothing beyond it. So one of the Rônins, called Yazama Jiutarô, got into the hole, and found that on the other side there was a little courtyard, in which there stood an outhouse for holding charcoal and firewood. Looking into the outhouse, he spied something white at the further end, at which he struck with his spear, when two armed men sprang out upon him and tried to cut him down, but he kept them back until one of his comrades came up and killed one of the two men and engaged the other, while Jiutarô entered the outhouse and felt about with his spear. Again seeing something white, he struck it with his lance, when a cry of pain betrayed that it was a man; so he rushed up, and the man in white clothes, who had been wounded in the thigh, drew a dirk and aimed a blow at him. But Jiutarô wrested the dirk from him, and clutching him by the collar, dragged him out of the outhouse. Then the other Rônin came up, and they examined the prisoner attentively, and saw that he was a noble-looking man, some sixty years of age, dressed in a white satin sleeping-robe, which was stained by the blood from the thigh-wound which, Jiutarô had inflicted. The two men felt convinced that this was no other than Kôtsuké no Suké, and they asked him his name, but he gave no answer, so they gave the signal whistle, and all their comrades collected together at the call; then Oishi Kuranosuké, bringing a lantern, scanned the old man's features, and it was indeed Kôtsuké no Suké; and if further proof were wanting, he still bore a scar on his forehead where their master, Asano Takumi no Kami, had wounded him during the affray in the castle. There being no possibility of mistake, therefore, Oishi Kuranosuké went down on his knees, and addressing the old man very respectfully, said—

"My lord, we are the retainers of Asano Takumi no Kami. Last year your lordship and our master quarrelled in the palace, and our master was sentenced to hara-kiri, and his family was ruined. We have come to-night to avenge him, as is the duty of faithful and loyal men. I pray your lordship to acknowledge the justice of our purpose. And now, my lord, we beseech you to perform hara-kiri. I myself shall have the honour to act as your second, and when, with all humility, I shall have received your lordship's head, it is my intention to lay it as an offering upon the grave of Asano Takumi no Kami."

Thus, in consideration of the high rank of Kôtsuké no Suké, the Rônins treated him with the greatest courtesy, and over and over again entreated him to perform hara-kiri. But he crouched speechless and trembling. At last Kuranosuké, seeing that it was vain to urge him to die the death of a nobleman, forced him down, and cut off his head with the same dirk with which Asano Takumi no Kami had killed himself. Then the forty-seven comrades, elated at having accomplished their design, placed the head in a bucket, and prepared to depart; but before leaving the house they carefully extinguished all the lights and fires in the place, [pg 14] lest by any accident a fire should break out and the neighbours suffer.

As they were on their way to Takanawa, the suburb in which the temple called Sengakuji stands, the day broke; and the people flocked out to see the forty-seven men, who, with their clothes and arms all blood-stained, presented a terrible appearance; and every one praised them, wondering at their valour and faithfulness. But they expected every moment that Kôtsuké no Suké's father-in-law would attack them and carry off the head, and made ready to die bravely sword in hand. However, they reached Takanawa in safety, for Matsudaira Aki no Kami, one of the eighteen chief daimios of Japan, of whose house Asano Takumi no Kami had been a cadet, had been highly pleased when he heard of the last night's work, and he had made ready to assist the Rônins in case they were attacked. So Kôtsuké no Suké's father-in-law dared not pursue them.

At about seven in the morning they came opposite to the palace of Matsudaira Mutsu no Kami, the Prince of Sendai, and the Prince, hearing of it, sent for one of his councillors and said: "The retainers of Takumi no Kami have slain their lord's enemy, and are passing this way; I cannot sufficiently admire their devotion, so, as they must be tired and hungry after their night's work, do you go and invite them to come in here, and set some gruel and a cup of wine before them."

So the councillor went out and said to Oishi Kuranosuké: "Sir, I am a councillor of the Prince of Sendai, and my master bids me beg you, as you must be worn out after all you have undergone, to come in and partake of such poor refreshment as we can offer you. This is my message to you from my lord."

"I thank you, sir," replied Kuranosuké. "It is very good of his lordship to trouble himself to think of us. We shall accept his kindness gratefully."

So the forty-seven Rônins went into the palace, and were feasted with gruel and wine, and all the retainers of the Prince of Sendai came and praised them.

Then Kuranosuké turned to the councillor and said, "Sir, we are truly indebted to you for this kind hospitality; but as we have still to hurry to Sengakuji, we must needs humbly take our leave." And, after returning many thanks to their hosts, they left the palace of the Prince of Sendai and hastened to Sengakuji, where they were met by the abbot of the monastery, who went to the front gate to receive them, and led them to the tomb of Takumi no Kami.

And when they came to their lord's grave, they took the head of Kôtsuké no Suké, and having washed it clean in a well hard by, laid it as an offering before the tomb. When they had done this, they engaged the priests of the temple to come and read prayers while they burnt incense: first Oishi Kuranosuké burnt incense, and then his son Oishi Chikara, and after them the other forty-five men performed the same ceremony. Then Kuranosuké, [pg 15] having given all the money that he had by him to the abbot, said—

"When we forty-seven men shall have performed hara-kiri, I beg you to bury us decently. I rely upon your kindness. This is but a trifle that I have to offer; such as it is, let it be spent in masses for our souls!"

And the abbot, marvelling at the faithful courage of the men, with tears in his eyes pledged himself to fulfil their wishes. So the forty-seven Rônins, with their minds at rest, waited patiently until they should receive the orders of the Government.

At last they were summoned to the Supreme Court, where the governors of Yedo and the public censors had assembled; and the sentence passed upon them was as follows: "Whereas, neither respecting the dignity of the city nor fearing the Government, having leagued yourselves together to slay your enemy, you violently broke into the house of Kira Kôtsuké no Suké by night and murdered him, the sentence of the Court is, that, for this audacious conduct, you perform hara-kiri." When the sentence had been read, the forty-seven Rônins were divided into four parties, and handed over to the safe keeping of four different daimios; and sheriffs were sent to the palaces of those daimios in whose presence the Rônins were made to perform hara-kiri. But, as from the very beginning they had all made up their minds that to this end they must come, they met their death nobly; and their corpses were carried to Sengakuji, and buried in front of the tomb of their master, Asano Takumi no Kami. And when [pg 16] the fame of this became noised abroad, the people flocked to pray at the graves of these faithful men.



THE TOMBS OF THE RÔNINS.

Among those who came to pray was a Satsuma man, who, prostrating himself before the grave of Oishi Kuranosuké, said: "When I saw you lying drunk by the roadside at Yamashina, in Kiôto, I knew not that you were plotting to avenge your lord; and, thinking you to be a faithless man, I trampled on you and spat in your face as I passed. And now I have come to ask pardon and offer atonement for the insult of last year." With those words he prostrated himself again before the grave, and, drawing a dirk from his girdle, stabbed himself in the belly and died. And the chief priest of the temple, taking pity upon him, buried him by the side of the Rônins; and his tomb still remains to be seen with those of the forty-seven comrades.

This is the end of the story of the forty-seven Rônins.

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A terrible picture of fierce heroism which it is impossible not to admire.
In the Japanese mind this feeling of admiration is unmixed, and hence it is that the forty-seven Rônins receive almost divine honours. Pious hands still deck their graves with green boughs and burn incense upon them; the clothes and arms which they wore are preserved carefully in a fire-proof store-house attached to the temple, and exhibited yearly to admiring crowds, who behold them probably with little less veneration than is accorded to the relics of Aix-la-Chapelle or Trèves; and once in sixty years the monks of Sengakuji reap quite a harvest for the good of their temple by holding a commemorative fair or festival, to which the people flock during nearly two months.

A silver key once admitted me to a private inspection of the relics. We were ushered, my friend and myself, into a back apartment of the spacious temple, overlooking one of those marvellous miniature gardens, cunningly adorned with rockeries and dwarf trees, in which the Japanese delight. One by one, carefully labelled and indexed boxes containing the precious articles were brought out and opened by the chief priest. Such a curious medley of old rags and scraps of metal and wood! Home-made chain armour, composed of wads of leather secured together by pieces of iron, bear witness to the secrecy with which the Rônins made ready for the fight. To have bought armour would have attracted attention, so they made it with their own hands. Old moth-eaten surcoats, bits of helmets, three flutes, a writing-box that must have been any age at the time of the tragedy, and is now tumbling to pieces; tattered trousers of what once was rich silk brocade, now all unravelled and befringed; scraps of leather, part of an old gauntlet, crests and badges, bits of sword handles, spear-heads and dirks, the latter all red with rust, but with certain patches more deeply stained as if the fatal clots of blood were never to be blotted out: all these were reverently shown to us. Among the confusion and litter were a number of documents, Yellow with age and much worn at the folds. One was a plan [pg 17] of Kôtsuké no Suké's house, which one of the Rônins obtained by marrying the daughter of the builder who designed it.
Three of the manuscripts appeared to me so curious that I obtained leave to have copies taken of them.

The first is the receipt given by the retainers of Kôtsuké no Suké's son in return for the head of their lord's father, which the priests restored to the family, and runs as follows:—

"MEMORANDUM:—
ITEM. ONE HEAD.
ITEM. ONE PAPER PARCEL.
The above articles are acknowledged to have been received.
Signed, {SAYADA MAGOBELI.(Loc. sigill.)
{ SAITÔ KUNAI.(Loc. sigill.)

"To the priests deputed from the Temple Sengakuji,
His Reverence SEKISHI,
His Reverence ICHIDON."

The second paper is a document explanatory of their conduct, a copy of which was found on the person of each of the forty-seven men:—

"Last year, in the third month, Asano Takumi no Kami, upon the occasion of the entertainment of the Imperial ambassador, was driven, by the force of circumstances, to attack and wound my Lord Kôtsuké no Suké in the castle, in order to avenge an insult offered to him. Having done this without considering the dignity of the place, and having thus disregarded all rules of propriety, he was condemned to hara-kiri, and his property and castle of Akô were forfeited to the State, and were delivered up by his retainers to the officers deputed by the Shogun to receive them. After this his followers were all dispersed. At the time of the quarrel the high officials present prevented Asano Takumi no Kami from carrying out his intention of killing his enemy, my Lord Kôtsuké no Suké. So Asano Takumi no Kami died without having avenged himself, and this was more than his retainers could endure. It is impossible to remain under the same heaven with the enemy of lord or father; for this reason we have dared to declare enmity against a personage of so exalted rank. This day we shall attack Kira Kôtsuké no Suké, in order to finish the deed of vengeance which was begun by our dead lord. If any honourable person should find our bodies after death, he is respectfully requested to open and read this document.

"15th year of Genroku. 12th month.
"Signed, OISHI KURANOSUKÉ, Retainer of Asano
Takumi no Kami, and forty-six others."

The third manuscript is a paper which the Forty-seven Rônins laid upon the tomb of their master, together with the head of Kira Kôtsuké no Suké:—

"The 15th year of Genroku, the 12th month, and 15th day. We have come this day to do homage here, forty-seven men in all, from Oishi Kuranosuké down to the foot-soldier, Terasaka Kichiyémon, all cheerfully about to lay down our lives on your behalf. We reverently announce this to the honoured spirit of our dead master. On the 14th day of the third month of last year [pg 18] our honoured master was pleased to attack Kira Kôtsuké no Suké, for what reason we know not. Our honoured master put an end to his own life, but Kira Kôtsuké no Suké lived. Although we fear that after the decree issued by the Government this plot of ours will be displeasing to our honoured master, still we, who have eaten of your food, could not without blushing repeat the verse, 'Thou shalt not live under the same heaven nor tread the same earth with the enemy of thy father or lord,' nor could we have dared to leave hell and present ourselves before you in paradise, unless we had carried out the vengeance which you began. Every day that we waited seemed as three autumns to us. Verily, we have trodden the snow for one day, nay, for two days, and have tasted food but once. The old and decrepit, the sick and ailing, have come forth gladly to lay down their lives. Men might laugh at us, as at grasshoppers trusting in the strength of their arms, and thus shame our honoured lord; but we could not halt in our deed of vengeance. Having taken counsel together last night, we have escorted my Lord Kôtsuké no Suké hither to your tomb. This dirk,7 by which our honoured lord set great store last year, and entrusted to our care, we now bring back. If your noble spirit be now present before this tomb, we pray you, as a sign, to take the dirk, and, striking the head of your enemy with it a second time, to dispel your hatred for ever. This is the respectful statement of forty-seven men."

The text, "Thou shalt not live under the same heaven with the enemy of thy father," is based upon the Confucian books. Dr. Legge, in his "Life and Teachings of Confucius," p. 113, has an interesting paragraph summing up the doctrine of the sage upon the subject of revenge.

"In the second book of the 'Le Ke' there is the following passage:
—'With the slayer of his father a man may not live under the same heaven; against the slayer of his brother a man must never have to go home to fetch a weapon; with the slayer of his friend a man may not live in the same State.' The lex talionis is here laid down in its fullest extent. The 'Chow Le' tells us of a provision made against the evil consequences of the principle by the appointment of a minister called 'The Reconciler.' The provision is very inferior to the cities of refuge which were set apart by Moses for the manslayer to flee to from the fury of the avenger. Such as it was, however, it existed, and it is remarkable that Confucius, when consulted on the subject, took no notice of it, but affirmed the duty of blood-revenge in the strongest and most unrestricted terms. His disciple, Tsze Hea, asked him, 'What course is to be pursued in the murder of a father or mother?' He replied, 'The son must sleep upon a matting of grass with his shield for his pillow; he must decline to take office; he must not live under the same heaven with the slayer. When he meets him in the market-place or the court, he must have his weapon ready to strike him.' 'And what is the course in the murder of a brother?' 'The surviving brother must not take office in the same State with the slayer; yet, if he go on his prince's service to the State where the slayer is, though he meet him, he must not fight with him.' 'And what is the course in the murder of an uncle or cousin?' 'In this case the nephew or cousin is not the principal. If the principal, on whom the revenge devolves, can take it, he has only to stand behind with his weapon in his hand, and support him.'"

I will add one anecdote to show the sanctity which is attached to the graves of the Forty-seven.
In the month of September 1868, a certain man came to pray before the grave of Oishi Chikara. Having finished his prayers, he deliberately performed hara-kiri,8 and, the belly wound not being mortal, dispatched himself by cutting his throat. Upon his person were found papers setting forth that, being a Rônin and without means of earning a living, he had petitioned to be allowed to enter the clan of the Prince of Chôshiu, which he looked upon as the noblest clan in the realm; his petition having been refused, nothing remained for him but to die, for to be a Rônin was hateful to him, and he would serve no other master than the Prince of Chôshiu: what more fitting place could he find in which to put an end to his life than the graveyard of these Braves? This happened at about two hundred yards' distance from my house, and when I saw the spot an hour or two later, the ground was all bespattered with blood, and disturbed by the death-struggles of the man.

- source : www.gutenberg.org

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roonin 浪人 / rooshi 浪士 Ronin, Roshi
- quote -
- Definition
The defining characteristic of a ronin is that he was a former samurai separated from service to a daimyo. The kanji that spell out the term "ronin" are literally translated as "wave person," as if he were set adrift to be tossed upon the waves of life. Sometimes, the term "ronin" is translated as "masterless samurai". There are quite a few chambara/jidaigeki films featuring ronin as main characters, including the very famous film Seven Samurai (Shichinin no Samurai) in which some Sengoku Period farmers hire ronin to protect their farms from bandits. In most of the films, the ronin characters are amazingly skilled swordsmen. They are sometimes completely villainous, lecherous, and greedy; more often, these film ronin are noble heroes who stand up for oppressed farmers and townspeople. The reality for most ronin was usually quite different than that portrayed in most films.
Strictly speaking,
the term "samurai" means "servant" and designates a bushi (a warrior member of the buke class) who was a daimyo or retainer; samurai received a set stipend, given out in terms of koku (measurements of rice). Those samurai who were the shogun's direct retainers were known as hatamoto (bannermen). So strictly speaking, the term "ronin" refers to bushi who were not samurai retainers. However, many people throughout the ages have used the term "samurai" as a generic term indicating any bushi.
Ronin were allowed to continue to bear a family name
and wear the distinctive two swords that they wore when they were clan samurai. However, they effectively existed outside of the official class structure (samurai, farmers, artisans, merchants) that existed from the late Sengoku period through the Edo period. Most ronin lived in poverty without fixed incomes.
- Becoming a Ronin
A bushi usually became ronin in one of four ways: ... snip ...
- Ronin during the Sengoku Period
- Ronin during the Edo Period
- Ronin during the Bakumatsu
- source : wiki.samurai-archives.com... -

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. Arakichoo 荒木町 Arakicho, Araki district . - Shinjuku

There used to be the slope 荒木坂 Arakizaka and an alley named 荒木横町 Araki Yokocho.
荒木政羽 Araki Masahane (1662 - 1732)
lived here.
Masahane is related to the story of the 47 Ronin and Asano Takumi no Kami.
He had previously promised to be the mediator for the restoration of the Asano clan ...
... The envoy sent to the house of Hosokawa was Masahane ARAKI, the bakufu's metsuke (inspector of foot soldiers), who was acquainted with Kuranosuke....
... One of the inspectors, Araki Masahane, agreed to take the matter up with the shogun's council of elders upon his return to Edo.

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- - - To join me on facebook, click the image !

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. Ronin 浪人と伝説 Legends about masterless Samurai .


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[ . BACK to WORLDKIGO . TOP . ]
- #chushingura #akoroshi #araki #masahane #arakicho -
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10/26/2014

Photo Collections

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Photo Collections 写真集 shashin shu

During the Bakumatsu Period and after the Meiji Restoration, many foreigners came to Japan and some of them left us great photo collections.

- quote
The Meiji Restoration (明治維新 Meiji Ishin),
also known as the Meiji Ishin, Renovation, Revolution, Reform or Renewal, was a chain of events that restored practical imperial rule to Japan in 1868 under Emperor Meiji. Although there were emperors of Japan before the Meiji Restoration, the restoration established the practical abilities and consolidated the political system under the Emperor of Japan. The goals of the restored government were expressed by the new emperor in the Charter Oath.

The Restoration led to enormous changes in Japan's political and social structure, and spanned both the late Edo period (often called Late Tokugawa shogunate) and the beginning of the Meiji period. The period spanned from 1868 to 1912 and was responsible for the emergence of Japan as a modernized nation in the early twentieth century.
- - - More in the WIKIPEDIA !


. The BAKUMATSU aera 幕末 People visiting Japan .
between 1853 and 1867

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. Beato Felice Beato / Felix Beato .
(1832 – 1909)
... his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting.
- - - More in the WIKIPEDIA !

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Estebe Claude /  Claude Estèbe
Edition multilingue français, anglais

Yokohama Shashin (1860 - 1900)



- source : www.yellowkorner.com

French contemporary art photographer.
He is currently living in Paris where he teaches Japanese visual culture at INALCO University and works as an expert in photography for Guimet Museum.
He published “The Last Samourais” and was a fellow artist at French Villa Kujoyama in Kyoto in 2001.
In April 2013, he was one of the curators of the first edition of
“Kyotographie International Photography Festival”.
source : tootyunggallery.com

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- - - - - Harvard College Library

Felice Beato (1834 or 1835-1909)
Brinkley, Francis
Adolfo Farsari (1841-1898)
Baron Raimund von Stillfried (1839-1911)
Ernest Goodrich Stillman
. Enami Nobukuni 江南信國(1859 - 1929) .
Kajima Seibei (1866-1924)
Kusakabe Kimbei (1841-1932)
Ogawa Kazumasa (1860-1929)
Shimooka Renjo (1823-1914)
Suzuki Shinichi (1855-1912)
Tamamura Kozaburo (b. 1856)
Uchida Kuichi (ca. 1844-1875)
- source : hcl.harvard.edu

- quote -
Baron Raimund von Stillfried: The photographer who invented Japan
by Lucy Alexander
Baron Raimund von Stillfried, a 19th-century pioneer of photography in Yokohama, was the first in Japan to recognize the new medium’s potential as a global marketing tool. Adept at producing theatrical souvenir photos, Stillfried also took the first ever photograph of Emperor Meiji and shocked Vienna when he imported Japanese teenage girls to the city to work in a mock teahouse.


“A Career of Japan” by Luke Gartlan

- source : Japan Times July 2016 -


"A Career of Japan" is the first study of one of the major photographers and personalities of nineteenth-century Japan. Baron Raimund von Stillfried was the most important foreign-born photographer of the Meiji era and one of the first globally active photographers of his generation. He played a key role in the international image of Japan and the adoption of photography within Japanese society itself. Yet, the lack of a thorough study of his activities, travels, and work has been a fundamental gap in both Japanese- and Western-language scholarship. Based on extensive new primary sources and unpublished documents from archives around the world, this book examines von Stillfried s significance as a cultural mediator between Japan and Central Europe.
It highlights the tensions and fierce competition that underpinned the globalising photographic industry at a site of cultural contact and exchange treaty-port Yokohama. In the process, it raises key questions for Japanese visual culture, Habsburg studies, and cross-cultural histories of photography and globalisation.
Luke Gartlan s book is a compelling and enjoyable read, and contributes major new perspectives to the growing field of Meiji photography. It will certainly be the authoritative work on Raimund von Stillfried, but it is also impressive for its contributions to other important areas of Meiji cultural studies, including representations of the emperor, photography of Hokkaido, and world s fairs.
Bert Winther-Tamaki (University of California, Irvine)"
- amazon com -


- quote -
A Career of Japan: Baron Raimund von Stillfried and Early Yokohama Photography
Book review by Luke Gartlan
- source : asianreviewofbooks.com/content -

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- - - - - Nagasaki University Database

Bauduin A.F. A.F.ボードイン [1820-1885] Netherlands
Beato F.ベアト [1834-] England. Yokohama.
Farsari, Adolfo ファサーリ [1841-1891] America.
Stillfried スチルフリード [1839-1911] Austria.

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Kusakabe, Kinbei 日下部金兵衛 [1841-1934] Kohfu. Kinhei Photo-studio at Yokohama.

Ogawa, Kazumasa 小川一真 [1860-1929] Gyota. Hohjun studio-Tokyo and his Company at Hiratsuka.

Suzuki, Shin-ichi 鈴木真一 [1835-1919] Shin-ichi Photo-studio at Yokohama,Tokyo.

Tamamura, Kozaburo 玉村康三郎 [1856-] Japan Photograph Company at Yokohama. Tamamura Photo-shop.

Tomishige, Rihei 冨重利平 [1837-1922] Yanagawa Tomishige Photo-studio at Kumamoto.

Uchida, Kuichi 内田九一 [-1876] Nagasaki. Kuichi-Do at Yokohama,Asakusa.

Ueno, Hikoma 上野彦馬 [1838-1904] Nagasaki. Ueno Photo-studio.

Usui, Shuzaburo 臼井秀三郎 [unidentified]

- source : oldphoto.lb.nagasaki-u.ac

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- - - - - National Diet Library, Japan
The Meiji and Taisho Eras in Photographs
- source : www.ndl.go.jp

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- - - - -- - - - - Old Japan

Old Japan is UK-based and was established in 1982.
Since that time, we have been buying and selling 19th Century photographs of Japan (inc. Meiji & Bakumatsu era), China and Korea. Our stock of Japanese photography in particular, is amongst the largest on the Web . . .
Terry Bennett
Wilhelm Burger
Karl Lewis
Michael Moser
Charles Parker
Pierre Rossier
H.F. Satow
T. Enami
Yokoyama Matsusaburo - and many more
- source : www.old-japan.co.uk

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- - - - - Kuniyoshi Project
Witty Work for Silhouettes
(Sono omokage hodoyoku utsushie, 其面影程能写絵) - utsushi-e
Publisher: Kadzusa-ya Iwazô (Kazusaya Iwazo)
- source : kuniyoshiproject.com ...

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- - - - - Old Photos of Japan
shows photos of Japan between the 1860s and 1930s. In 1854, Japan opened its doors to the outside world for the first time in more than 200 years. It set in motion a truly astounding transformation.

- - - - - Photographers featured
Adolfo Farsari
T.G. Ariga
Hanaya Kanbei
Henry Strohmeyer
Julian Cochrane
Kazumasa Ogawa
Kimbei Kusakabe
S. Kinoshita
Kozaburo Tamamura
Kuichi Uchida
Nobukuni Enami
Reiji Esaki
Studio Chidori
Teijiro Takagi
Y. Isawa
Yusa Studio
and many Unknown
- source : www.oldphotosjapan.com

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- - - - - Photos of Japan from over 100 years ago

Around 150 years ago in 1868, samurai rule was ended and Japan started moving forward into a new age. The whole system of govenment was changed and new technologies were introduced, but the “old Japan” Edo period atmosphere still lingered.



Yokohama
- source : waku2japan.com

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A Letter from Japan: The Photographs of John Swope(1908 - 1979)



As one of the first American photographers to set foot on Japanese soil at the end of World War II- - - even before Japan had officially surrendered -- John Swope experienced and recorded a critical, peculiar and fragile moment in the history of the East and of a war-torn world. His powerful photo essay is complemented here, as he had hoped it would be one day, by excerpts from the 144-page letter he wrote to his wife, the actress Dorothy McGuire, during the three weeks he spent traveling with an elite team of Edward Steichen Naval photographers tapped to document the release of Allied prisoners of war.

Swope went far beyond his official duties to convey the impact of World War II on the local population and the land, as well as the freed soldiers. Having visited Japan 15 years before, as a young man, he had a better sense than some of his colleagues of just what had been destroyed, and he struggled with it. His letter describes both his experiences and his emotional reactions to all that he saw; his photographs, together with those words, convey a poignant, highly personal view of this world in limbo, expressing a great sense of humanity and a profound sensitivity for the people on both sides of the conflict. A Letter from Japan presents 114 color plates, some of which, by way of contrast and background, cover Swope's work as a Hollywood photographer, his Life magazine career and his international travels from the 1930s to the 1970s.
source : www.amazon.com/dp

- quote
John Swope (August 23, 1908 – May 11, 1979)
was a photographer for Life Magazine, and a pilot.
- - - A Letter from Japan: The Photographs of John Swope
- taken in August 1945 documents the devastation caused by World War II. This photographic essay was complemented by a 144-page letter to his wife Dorothy McGuire describing in detail his emotional experience when shooting these images.
- - - More in the WIKIPEDIA !

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CLICK for more photos !

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. Japanese Architecture - cultural keywords used in haiku .

. - Doing Business in Edo - 商売 - Introduction .


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[ . BACK to WORLDKIGO . TOP . ]

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10/25/2014

woodwork in Edo

[ . BACK to DARUMA MUSEUM TOP . ]
. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .
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Woodwork in Edo

Edo Moku-Chokoku (Wood Sculptures) 江戸木彫刻

Edo Moku-Hanga (Woodblock Prints) 江戸木版画

Edo Sashimono (Wood Joinery) 江戸指物

Kanda Kijichoo, kijimachi 雉子町 Kiji-Cho "pheasant district" wood-craft workers

himonoshi 檜物師 "artisan making things from Hinoki cypress wood"


. kigu shokunin 木具職人 craftsman making wooden ritual tables .



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- quote
Edo Moku-Chokoku 江戸木彫刻 Wood Sculptures

■ Traditional Technologies and Techniques
1- 下絵 - For three-dimensional sculptures, the design is drawn directly on all four working surfaces. When preparing to carve deep-set reliefs or other works, working surface designs are drawn on paper using charcoal or a brush, etc
2- 木取り - When selecting timber, the craftsman pays close attention to the working surface of the wood, the reverse side of the wood and natural features such as knots.
3- 彫り - Chisels and engraving knives are used for wood carving, there being a work progression from rough carving to medium carving, and then finishing work. When the craftsman does light-set reliefs or other work, the process commences with medium carving tasks.
4- 仕上げ - When doing three-dimensional sculptures or deep-set reliefs, finishing involves the planing of the work. For light-set reliefs or other work, finishing involves either planing or polishing with scouring rushes.



■ Traditionally Used Raw Materials
Zelkova, Camphor, Cypress, Sandalwood, Paulownia, Cherry, etc.
ケヤキ、クス、ヒノキ、ビャクダン、キリ、サクラなど

■ History and Characteristics
The history of sculpture is very old. According to one theory, sculpting as a craft commenced along with the arrival of Buddhism in Japan in around the 6th century.

From the Heian through the Kamakura Periods (approx. 794-1333), there were a lot of Buddhist statues carved. Over time there was also a transformation from delicate and beautiful works admired by the aristocracy, to a flourishing of works that embodied the perceived heroism and ethos of the military classes.

On entering the Muromachi Period (1336-1573), the aesthetic simplicity of Zen Buddhism which did not require statuesque iconography came to the forefront. Therefore, the demand for statue sculptures was dwarfed by the demand for sculptures of decorative taste that could be applied to the pillars and transoms of shrines and temples. This field of application saw rapid development. Furthermore, during the Azuchi-Momoyama and early Edo Periods, a master carpenter called Hidari Jingoro 左甚五郎 rose to prominence.

Concerning architectural sculpting, in that it was a trade originally engaged in by carpenters, during the Edo Period from among the ranks of the master carpenters there was born a new class of craftsman called miyachoshi 宮彫師 (literally "palace sculptors"). These artisans specialized in the carving of decorative reliefs.

Whereas sculptors of Buddhist statues had previously separated the use of chisels and carving knives, the work of this new class of craftsman focused on the use of chisels.

Concerning buildings resplendent with sculpture in the vicinity of old Edo, the Yomei-mon Gate of Toshogu Shrine in Nikko 日光 - 東照宮の陽明門 is but one example.

During the Meiji Era (1868-1912), as western buildings began to appear in Japan, craftsmen who had previously been involved in the production of Buddhist iconography and the decoration of shrines and temples began to turn their attention to the carving of decorations in the western style. In the Diet Building constructed in the early Showa Era, there is a masterpiece of sculpting that was executed by a team of 300 craftsmen over period of more than three years.

Various timber species including Zelkova, Cypress, Cherry and Camphor, etc., are used in sculpting. Furthermore, the quality of finished work is as much dependent on preliminary sketches as on the carving skills of the craftsman. If the intent is to sculpt work that is in good taste, then in addition to an understanding of pictures and writing, the craftsman also requires knowledge of a wide range of other topics such as the Japanese art of the tea ceremony 茶道 and flower arrangement 華道.

Edo Wood Carving / Japan Wood Carving Federation
- source : www.sangyo-rodo.metro.tokyo.jp


. Hidari Jingoroo 左甚五郎 Hidari Jingoro .

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- quote
Edo Moku-Hanga 江戸木版画 Woodblock Prints

■ Traditional Technologies and Techniques
1- 絵師 - Artist (drawing of art)
The original drawing, known as a hanshita 版下, is a simple draft on thin paper which is created using black ink only. In that multiple colors will be applied to the artwork one at a time during the printing process, one copy of the hanshita is required for each color to be used. Once a hanshita drawing is created for each color, those areas to which that color is to be applied when printing are indicated using a light vermilion shading. Such areas shall remain raised (uncarved during the carving process).
2- 彫り師 - Carver (woodblock carving)
A hanshita drawing is pasted to a woodblock and the woodblock is then placed on the carving table. A carver's knife is used to carve the picture from the inner portion moving outward (starting at the center). Finally a special orientation reference mark known as a kento 見当 is engraved into the block. The kento helps align each individual woodblock during the printing process. The carving process is repeated in order to produce a carved woodblock for each of the colors to be printed. The color-specific hanshita are used during trial printing.
3- 摺り師 - Printer (application of colors)
Color pigments dissolved in water are applied to the surface of a carved woodblock using brushes. Paper is then placed face-down over the inked woodblock, and a disk-like hand tool called a baren ばれん is used to apply pressure to and rub the reverse side of the paper. The color-specific woodblocks created during trial printing are used to apply colors one at a time.



■ Traditionally Used Raw Materials
Woodblocks (cherry wood), Japanese traditional paper (predominately made from paper mulberry),
版木(桜材)、和紙(主として楮を原料)
color pigments (black, vermilion, red, green, purple, indigo, pink, gray)
絵具顔料(墨、丹、黄、紅、草、紫、藍、薄紅、鼠)

■ History and Characteristics
The Moku-Hanga (woodblock print) has an especially long history in Japan. Among the artifacts of the Shosoin Treasure House in Nara Prefecture, there is a picture of foreign origin that depicts such printing processes being employed to print designs on clothing approximately 1,200 years ago.

Furthermore, a woodblock print known as Hyakumanto Darani 百万塔陀羅尼 ("One Million Pagodas and Dharani Prayers") was also produced at around the same time.

Woodblock printing first achieved general acceptance when the nation entered the Edo Period (1603-1868), as Hishikawa Moronobu 菱川師宣 (1631-1694) began to produce ukiyo-e prints. At around the same time, the separation of production skills into those of the artist, the wood carver and the printer also occurred.

Initially only simple prints were produced (works printed from a single woodblock using black ink only). Later on, a method was devised for using vermilion in order to create color prints called tan-e. The use of more complex colors became established as time passed. From around the Tempo Era (1716-1735), beautiful hand-painted pictures called urushi-e 漆絵 (lacquer pictures) and beni-e 紅絵 (rouge-red pictures) began to be sold in Edo's markets.

Around the end of the Kanpo Era (1741-1743), a method of printing two-tone pictures in red and green was developed. Then, in the second year of the Meiwa Period (1765), Suzuki Harunobu 鈴木春信 (1725-1770) developed nishiki-e 錦絵 (brocade pictures). This represented a high-water mark for woodblock printing, no-longer was it a case of printing in just two or three colors. Rather, polychrome printing in 10 or more colors had arrived on the scene.

Woodblock printing techniques then approached completion as artists such as Kitagawa Utamaro 歌麿 (1753-1806) and Sharaku 写楽 (details unknown) created prints that were both graphic and offered elaborate expressionism. Moreover, at the end of the Edo Period, the landscapes of artists such as Katsushika Hokusai 北斎 (1760-1849) and Utagawa Hiroshige 広重 (1797-1858) demonstrated thoroughly the colorful nature of woodblock prints.

Ukiyo-e hanga 浮世絵版画 (ukiyo-e prints) represent a form of artistic expressionism in which an artist 絵師, a woodblock carver 彫師 and a printer 摺師 come together to work as one. The artist draws the original drawing on a thin piece of washi 和紙 (traditional Japanese paper). Using a carver's knife, the carver then carves the drawing that has been affixed to a woodblock (usually cherry wood). The carver repeats this process for each color to be printed. The work is then completed by the efforts of the printer who sets the paper to the inked woodblock and then uses a baren to apply pressure to it.

Please note that modern creative hanga prints in which a single person completes all production processes are not considered to be part of the traditional Moku-Hanga (woodblock print) craft.

Tokyo Traditional Wood-Block Print Craft Association
- source : http://www.sangyo-rodo.metro.tokyo.jp

- quote -
beni-e 紅絵
A black-line hand-colored woodblock print ukiyo-e 浮世絵 that began to be produced after tan-e 丹絵, although of similar technique.
Beni 紅 (a tawny yellow dye extracted from petals of safflowers) was applied to a black print, sumizuri-e 墨摺絵, with the brush instead of tan 丹, which has is a less delicate pigment.
It is said that this method was originated by a printmaker, Izumiya Gonshiro 泉屋権四郎, at the beginning of the Kyohou享保 era (1716-36).
It once was grouped with benizuri-e 紅摺絵 an early form of colored print, but these are now considered separately.
Among others, Okumura Masanobu 奥村政信 (1686-1764), Nishimura Shigenaga 西村重長 (1693?-1756), and Ishikawa Toyonobu 石川豊信 (1711-85) used this method.
The coloring was sometimes used in tandem with lacquered black outline prints urushi-e 漆絵, in the Kyoho era.
The word beni-e was first used at that time and the technique is seen in pictures by Okumura Masanobu and Nishimura Shigenaga.
Color prints using beni are found mostly in the Kyoho to Horeki 宝暦 eras (1716-64) and are the main technique apart from urushi-e.
Few such works survive from later times. Although beni-e precede urushi-e, they are technically very similar and the distinction is sometimes obscure.
Today these two are generally distinguished by the use of lustered China ink sumi 墨, painted with a brush.
- source : JAANUS -

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江戸指物 ー 下町職人の粋と意気
関保雄


sashimonoya 指物屋 furniture maker

- quote
Edo Sashimono 江戸指物 Wood Joinery

■ Traditional Technologies and Techniques
1- 板の接合 - Furniture joinery techniques used in the production of Edo Sashimono include hagitsugi 矧接 (butted joints), hashibame 端嵌 接 (tongue and groove joints), hirauchitsugi 平打接 (flat braid joints), kumitetsugi 組手接 (box joints) and tometsugi 留接(wedge joints).
2- 框(棒)の接合 - The jointing of furniture frames involves aikakitsugi 相欠接 (halving joints), hozotsugi ほぞ接 (tenon joints) and tometsugi 留接 (wedge joints).
3- 塗り - When Edo Sashimono is lacquered, the following techniques are used:
Fuki-urushi 拭漆: Raw lacquer is rubbed into the wood with a cotton cloth or brush and immediately wiped off before hardening. Repetition results in a coating that protects and strengthens the wood and highlights the beauty of its grain.
Roiro-nuri ろいろ塗り: A polishing technique giving a high gloss. It is carried out by rubbing with a very fine abrasive such as pulverized deer horn applied to a cloth moistened with lacquer.
Nuritate 塗り立 : A technique of applying a finishing coat of lacquer and allowing it to harden without subsequent polishing.
Mehajiki-nuri 目弾き塗り: The application of lacquer to open-grained wood like Paulownia or Zelkova in such a manner that it is repelled by the grain, which thus remains visible.
If decorated, techniques such as maki-e 蒔絵 (sprinkled pictures) and raden 螺鈿(mother-of-pearl inlays) are used.




■ Traditionally Used Raw Materials
The following types of wood are used in the manufacture of Edo Sashimono: Mulberry, Zelkova, Paulownia and Cypress. Other timbers with similar properties may also be used.
木地は、クワ、ケヤキ、キリ、スギ又はこれらと同等の材質を持つ用材とする。
Natural lacquers are used. 漆は、天然漆とする。

■ History and Characteristics
"Sashimono" is a term derived from the traditional practice of using a woodwork ruler (or a "monosashi" in Japanese) to carefully measure timber materials in order to create box-shaped items of furniture, such being equipped with precise-fitting lids and drawers.

In Kyoto, the "sashimono" tradition enjoys a very long history, it being possible to trace the associated joinery skills back to the court culture of the Heian Period (approx. 794-1185). In those days, such furniture was made by hand by carpenters. The "sashimono" skills of dedicated "sashimonoshi" (specialized furniture joiners) evolved from the Muromachi Period (1337-1573) onwards, as furniture such as shelving, chests of drawers and desks all saw greater usage in samurai households. Furthermore, in accordance with the development of the tea-ceremony culture, it is said there was an increased demand for box-shaped items of furniture such as "sashimono".
Thus, the craft of the "sashimonoshi" 指物師 diverged from the carpentry profession along with a number of other artisan trades including "toshoji" 戸障子 (craftsmen of doors and shoji screens), "kudenshimiyashi" kuden shi miya shi 宮殿師みやし (宮大工) (craftsmen specializing in temple and shrine work) and "himonoshi" 桧物師ひものし or "magemonoshi" 曲物師 (craftsmen of bentwood products).

In Kyoto, "sashimono" developed into furniture that was used within the imperial court and among the aristocracy, as well as being used within the context of the tea ceremony. It was also loved as a genre whose designs touched on matters of elegance and simplicity.

By contrast, Edo Sashimono saw service with samurai families such as those of the Shogun and of the various daimyo (the feudal lords). Furthermore, much "sashimono" was made for the merchant class that rose from the middle of the Edo Period (1603-1868), and also for the use of Edo's Kabuki actors (in the form of theatrical chests).

The true spirit of craftsmen can be felt in Edo Sashimono in a number of ways. Firstly, there is the use of timbers with beautiful grains such as Mulberry, Zelkova and Paulownia, etc. Secondly, there is the skillful use of techniques even in locations that cannot be seen. Thirdly, there is an almost total absence of nails in the construction of "sashimono".

Behind the "sashimono" skills summarized as the arts of cutting, planing, sealing and carving, it is possible to feel the uniqueness of the craftsmen.

In that timber, derived from a living organism is what is used in the production of Edo Sashimono, the variety of unique adjectives such as "hardness," "sweetness," "dullness," "subtleness," "well-rounded," and "raw," etc., that could be used to describe the timber might be said to tell a story in themselves.

Edo Sashimono Cooperative Association
- source : www.sangyo-rodo.metro.tokyo.jp


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. shokunin 職人 craftsman, craftsmen, artisan, Handwerker in Edo .


source : takeb777.at.webry.info

Kijichoo. Kiji machi 雉子町 Kiji-Cho "pheasant district" - wood-craft workers
(a pun with the sound of kiji 木地 plain wood)
now in 千代田 Chiyoda, 神田司町二丁目 Kanda Tsukasamachi second sub-district

Kanda Kijibashi bridge 雉子橋 Kiji-Bashi, now in 千代田区神田 Chiyoda ward

. kiji gangu 木地玩具 toys from plain wood .

kijishi 木地師 maker of wooden items, wood turner
kijiya 木地屋 dealer, vendor of wooden items


They made bowls and plates to eat food, trays and other things for the daily life of the people. Many of the items were round and they worked them on a rokuro 轆轤 artisan's wheel, that was equipped with a special blade
rokuroganna 轆轤鉋 Kanna blade tool to shave wood.



The wheel was moved by a helper who pulled on two strings attached to the tool. The strings were made from leather and later from strong vines.
The blades and hooks for shaving the inside of bowls had to be adjusted to the purpose, to the Kijishi had also to be a sort of blacksmith.

To get the wood for sturdy bowls many craftsmen had to climb into the mountain forests to get it. Above a certain hight of a mountain they were allowed to cut trees for their trade.



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Other sources say Kiji-Cho was the hunting ground for pheasants, providing a favorite meat, of Tokugawa Ieyasu. There were also large cages to keep the birds.
He entertained the ambassadors from Korea with pheasant dishes during their visits in Edo.


source : National Diet Library.
Outside View of 雉子橋 Kiji-Bashi (Bridge)

Saito Gesshin 斉藤月岑, the ward representative (nanushi)
Edo Culture: Daily Life and Diversions in Urban Japan, 1600-1868
By Matsunosuke Nishiyama, Gerald Groemer
- source : books.google.co.jp -

Saito Gesshin 斉藤月岑 (1804 -1878) lived at Nr. 8 banchi 神田雉子町八番地.
He compiled all kinds of books about Edo.

- quote -
雉子町(司町2丁目のうち)の名主、斉藤月岑(げっしん)
斉藤家は徳川家康入府の頃からの草創名主として雉子町ほか五町の名主を勤めていました。その一方前述の「多町市場」を監督する傍ら現在の江戸研究者にとって必読の書である『江戸名所図会』『東都歳時記』『武江年表』などをまとめあげています。
その郷土の誇る文化人である月岑の生家が神田雉子町八番地(現司町2丁目6番地と8番地の境辺り)です。
- source : daisuki-kanda.com/guide -

Kiji-Cho was also the home of the "bathouse" cum brothel, Tanzenburo 丹前風呂. This was erected before (zen 前) the grounds of the residence of (tan 丹)
Hori Tango no Kami Naoyori 堀直寄 丹後守 (1577 - 1639).



One of the ladies of these establishments called herself
Tanzenburo Katsuyama Tanzen Buro Katsuyama 丹前風呂勝山
三代目歌川豊国 Utagawa Toyokuni 3rd

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himonoshi 檜物師 "artisan making things from Hinoki cypress wood"
also called magemonoshi 曲物師 craftsmen of bentwood products
kurimono 刳物 "bent things"



Since the 15th century, they were specialized in bentwood products and other wooden items for daily use
(造物 tsukurimono).
Bentwood items were made of thin plates of cypress, bent into containers for keeping rice, for example
magewappa and kept together with the bark of kaba 樺 birch trees or sakura 桜 cherry trees.
Apart from cypress wood, sugi 杉 cedar and maki 槙 Maki conifers was also used.
Tsukurimono were square instead of bent.
They used all kinds of blades to cut the wood. The small slips for the bark were made with a took called
mesashi 目さし (eye-opening knife).
They also made hishaku 柄杓(ひしやく)ladles,sanbo 三宝 stands for the altar,meshibitsu 飯櫃(めしびつ)rice containers ,oboke 苧桶(おぼけ),seiro 蒸籠(せいろう)bamboo steamers,furui 篩(ふるい)sieves and about 40 other things.


source : katodesuryohei desu
檜物師(横浜市歴史博物館編)

They worked in a hot enrivonment, because they needed fire (for hot water and heating metal frames) to soften and bent the wood. So in the summer heat they worked almost naked.
This was a kind of ijoku 居職 work done at the home of the craftsman.
The vendors of their products were called himonoya 檜物屋.


. magewappa まげわっぱ / 曲げわっぱ / マゲワッパ round bento box .

. hinoki 檜 or 桧 Japanese cypress .

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. Legends and Tales from Japan 伝説 - Introduction .

In Osaka 大坂立売堀中橋町
there lived a Himono maker in a rented shop. Once around 1655 there was a tremblor around six in the morning and then water from the sea welled up on his kitchen floor. When he wiped it off, it was soon back again. Next some fine earth came falling down from the ceiling. And something like a priest's ceremonial robe came down from the sky and hang on his roof.

In 富山県 Toyama, 備中国 Bitchu province
there lived a Himono maker with his daughter, O-Matsu. One night she came down with a high fever and the next morning, she had turned into a boy.

- source : yokai database nichibun -

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. tansu 箪笥 / 簞笥 -- たんす chest of drawers, Kommode .
tansuya 箪笥屋 Tansu cest maker in Edo

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Himonochoo 檜物町 / 檜物丁 Himono-Cho District in Edo
close to Nihonbashi - 東京都中央区八重洲一丁目・日本橋三丁目

The Eastern side of this district was the 外堀 Sotobori canal.



Following Tokugawa Ieyasu to Edo, the craftsman of Hinoki wood from Hamamatsu named
Hoshino Mataemon 星野又右衛門 settled here first in 1590 and became the headman of the craftsmen following him. His family held the title for many generations.

Another famous person who lived here was

. Tokiwazu Moji Tayuu 常磐津 文字太夫 Tokiwazu Mojitayu .
(1709 - 1781)
The was a narator and reciter of Joruri and began the Tokiwazu-bushi in 1747.
Jooruri 浄瑠璃 Joruri Bunraku Performance


. Himonya 碑文谷 Himonya district .
This is a very old district, dating back to the Muromachi period, when it was called
Himonoyoya 檜物屋 District of woodworkers with Japanese cypress
Now part of 目黒区 Meguro Ward.
Its name is a kind of pun with the sound and meaning of himon 碑文 meaning "inscription on a stone".


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. Japanese Architecture - cultural keywords used in haiku .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .


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