[ . BACK to DARUMA MUSEUM TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Bunei Sekibutsu 文英様石仏 Stone Buddhas of the Bunei style - Okayama -
吉備の文英様石仏
this file has moved
. Sekibutsu stone statues by Bunei 文英様石仏 - Okayama -
吉備の文英様石仏 .
Marebito まれびと / 客 / 賓 / 客人 "rare person"
koshinage Jizoo 腰投げ地蔵 "hip-throw" Jizo -
Bishamonten Magaibutsu - 毘沙門天磨崖仏
Kibi no Sekibutsu 吉備の石仏 Stone Buddhas from Kibi
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Magaibutsu 磨崖仏 Stone Carvings and Sculptures .
. Sekibutsu 石仏 Stone Buddhas .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #okayama -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
8/22/2013
8/20/2013
Buson - visiting temples
[ . BACK to DARUMA MUSEUM TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Yosa Buson 与謝蕪村 in Edo .
(1715-1783)
Visiting some temples with Buson.
The temple bell (kane 鐘 ) is extra.
Japanese Temple Bells
. WKD : tera 寺 temple, temples, Tempel .
under construction
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
furudera ni kibigara o taku bojitsu kana
At an old temple
Millet chaff they burn--
At sunset
Tr. Nelson/Saito
古寺の藤あさましき落葉哉
furudera no fuji asamashiki ochiba kana
(1777)
Wisteria at an aged temple
Miserable--
Fallen leaves.
Tr. Nelson/Saito
furudera no kure mashiro nari soba no hana
(1777)
at the temple
at sunset the white colors
of buckwheat flowers . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
古寺やほうろく捨つる芹の中
furudera ya hooroku suteru seri no naka
this old temple -
horoku dished are thrown out
into the dropwort fields
Tr. Gabi Greve
Buson at Mibu Temple 壬生寺
. WKD : kawarake-nage かはらけなげ throwing dishes .
....................................................................................................................................................
花ちりて木間の寺と成にけり
hana chirite ko no ma no tera to nari ni keri
(1769)
The cherry-blossoms having fallen,
The temple belongs
To the branches.
Tr. Blyth
With the cherry blossoms gone
The temple is glimpsed
Through twigs and branches.
Tr. Miura
Cherry blossoms gone--
The temple, its former self
Among the trees.
Tr. Nelson/Saito
With blossoms fallen
in spaces between the twigs
a temple has appeared.
Tr. Sawa/ Shiffert
....................................................................................................................................................
hata utsu ya ko no ma no tera no kane-kuyoo
tilling the field;
from the forest,
the temple bell tolls
Tr. Haldane
hata utsu ya mine no oboo no tori no koe
tilling the fields -
from the mountain temple
the voice of a cock
Tr. Gabi Greve
....................................................................................................................................................
寒月に木を割寺の男哉
kangetsu ni ki o waru tera no otoko kana
under the cold moon
a man of the temple
chops firewood . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
kangetsu 寒月 lit. "moon in the cold", winter moon.
- quote
In Buson zenbu, they guess it was probably a thematic, or 兼題句 kendai-ku because of another he wrote soon before captioned kangetsu. It is among the 1 in 5 or so of Buson's ku i mark as somewhat interesting because i felt -- here, i agree with the commentators -- the dry crack of the ax and splitting apart evoke the cold light shed by the moon.
However, i also think it significant the ku ends in the man (men) as subject making him (or them) more of a theme than would be the case had the man been in the middle seven and merely the subject. In English, this difference is hard to make. So, i feel the man himself takes in the quality of the the moon and wood and ax ...
I think it significant that in one version the ki is 薪 maki (firewood/brushwood）while several are ki, just "wood." That is why I felt it was starker reading the Japanese than i would have the "firewood" below.
Of the 4 bks with the ku, including his selfbrushed notebook, ku-chou (just ku, right), only the one with the word hokku included in the booktitle had the word firewood in it.
Robin D. Gill
. discussion of facebook .
寒月や門なき寺の天高し
kangetsu ya mon naki tera no ten takashi
(1768)
cold moon -
a temple without gate and
the high autumn sky
Tr. Gabi Greve
. WKD : kangetsu 寒月（かんげつ）"moon in the cold", moon on a cold night .
kigo for winter
. WKD : ten takashi 天高し "high sky", "high heaven" .
kigo for autumn
kangetsu ya tani ni cha o kumu mine no tera
cold winter moon -
down the valley water is scooped
for the temple at the summit
Tr. Gabi Greve
都人にたらぬふとんや峰の寺
. miyabito ni taranu futon ya mine no tera .
寒月や鋸岩のあからさま
寒月や門をたゝけば沓の音
....................................................................................................................................................
momiji shite tera aru sama no kozue kana
The leaves turn scarlet so
There must be a temple
Hidden among the treetops.
Tr. McAuley
....................................................................................................................................................
菜の花や摩耶を下れば日の暮るる
. na no hana ya maya o kudareba hi no kururu .
Temple Butsumo Maya San Tooriten Jooji 仏母麻耶山忉利天上寺
Maya san Tenjooji 摩耶山天上寺 Tenjo-Ji. Hyogo
....................................................................................................................................................
ootera ni meshi no sukunaki sakura kana
(1769)
at the huge temple
the food is meager
for cherry blossom viewers . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
....................................................................................................................................................
鹿ながら山影門に入日哉
shika nagara yamakage mon ni irihi kana
together with a deer
a mountain's shadow at the temple gate
in the setting sun . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
. Konpukuji, Konbukuji 金福寺 / 金福寺 temple Konbuku-Ji .
Kyoto
Buson wrote the following haiku at this temple:
耳目肺腸ここに玉巻く芭蕉庵
三度啼きて聞こえずなりぬ鹿の声
鹿ながら山影門に入日哉
畑うつやうごかぬ雲もなくなりぬ
冬ちかし時雨の雲もここよりぞ
我も死して碑にほとりせむ枯尾花
....................................................................................................................................................
tenzoo no niwa no kogiku ya ginkakuji
(1777)
the small chrysanthemum flowers
in the garden of the temple cook -
Silver Pavillion
Tr. Gabi Greve
. Ginkajuji 銀閣寺 Ginkaku-Ji, the Silver Pavillion in Kyoto .
. tenzoo 典座 the Zen cook .
....................................................................................................................................................
寺寒く樒はみこぼす鼠かなt
tera samuku shikimi hamikobosu nezumi kana
a cold temple
and the mice are gnawing
star anise . . . . .
Tr. Gabi Greve
shikimi is used to purify the body and soul by monks.
. WKD : shikimi no hana 樒の花 shikimi blossoms .
Skimmia japonica
Illicium anisatum - commonly known as the Japanese star anise
....................................................................................................................................................
としひとつ積るや雪の小町寺
toshi hitotsu tsumoru ya yuki no komachidera
(1773)
Another year
Accumulates -- Snow at
Komachi Temple.
Tr. Nelson/Saito
Fudara-Ji 補陀洛寺（小町寺 Komachidera ）
. Ono no Komachi 小野 小町 .
c. 825 — c. 900. Waka Poetess and Famous Beauty
....................................................................................................................................................
妻も子も寺で物くふ野分かな
tsuma mo ko mo tera de mono kuu nowaki kana
(1783)
mothers and children
eat at the temple
during the typhoon . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
tsuma mo ko mo lit. "wives and children"
Even in our times in rural Japan, people evacuate to special centers or the local temple during a typhoon.
....................................................................................................................................................
裏門の寺に逢着す蓬かな
ura-mon no tera ni hochakusu yomogi kana
At the back gate
of the temple, I arrive to find
a growth of mugwort.
Tr. McAuley
....................................................................................................................................................
山寺の硯に早し初氷
yamadera no suzuri ni hayashi hatsugoori
the ink stone
of this mountain temple has it early -
the first ice
Tr. Gabi Greve
yamadera ya tsuki sokonai no kane kasumu
A mountain temple;
The sound of the bell struck fumblingly,
Vanishing in the haze.
Tr. Blyth
A temple on a mountain--
Its bell struck amiss
In the haze.
Tr.Nelson/Saito
A mountain temple--
a bell struck clumsily
resounds blurred in the fog.
Tr. Sawa/ Shiffert
. WKD : yamadera 山寺 a mountain temple .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
To join BUSON on Facebook, click the image!
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. WKD : Yosa Buson 与謝蕪村 - Introduction .
. Yosa Buson 与謝蕪村 in Edo .
. ABC - List of Buson's works in the WKD .
buson
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Yosa Buson 与謝蕪村 in Edo .
(1715-1783)
Visiting some temples with Buson.
The temple bell (kane 鐘 ) is extra.
Japanese Temple Bells
. WKD : tera 寺 temple, temples, Tempel .
under construction
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
furudera ni kibigara o taku bojitsu kana
At an old temple
Millet chaff they burn--
At sunset
Tr. Nelson/Saito
古寺の藤あさましき落葉哉
furudera no fuji asamashiki ochiba kana
(1777)
Wisteria at an aged temple
Miserable--
Fallen leaves.
Tr. Nelson/Saito
furudera no kure mashiro nari soba no hana
(1777)
at the temple
at sunset the white colors
of buckwheat flowers . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
古寺やほうろく捨つる芹の中
furudera ya hooroku suteru seri no naka
this old temple -
horoku dished are thrown out
into the dropwort fields
Tr. Gabi Greve
Buson at Mibu Temple 壬生寺
. WKD : kawarake-nage かはらけなげ throwing dishes .
....................................................................................................................................................
花ちりて木間の寺と成にけり
hana chirite ko no ma no tera to nari ni keri
(1769)
The cherry-blossoms having fallen,
The temple belongs
To the branches.
Tr. Blyth
With the cherry blossoms gone
The temple is glimpsed
Through twigs and branches.
Tr. Miura
Cherry blossoms gone--
The temple, its former self
Among the trees.
Tr. Nelson/Saito
With blossoms fallen
in spaces between the twigs
a temple has appeared.
Tr. Sawa/ Shiffert
....................................................................................................................................................
hata utsu ya ko no ma no tera no kane-kuyoo
tilling the field;
from the forest,
the temple bell tolls
Tr. Haldane
hata utsu ya mine no oboo no tori no koe
tilling the fields -
from the mountain temple
the voice of a cock
Tr. Gabi Greve
....................................................................................................................................................
寒月に木を割寺の男哉
kangetsu ni ki o waru tera no otoko kana
under the cold moon
a man of the temple
chops firewood . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
kangetsu 寒月 lit. "moon in the cold", winter moon.
- quote
In Buson zenbu, they guess it was probably a thematic, or 兼題句 kendai-ku because of another he wrote soon before captioned kangetsu. It is among the 1 in 5 or so of Buson's ku i mark as somewhat interesting because i felt -- here, i agree with the commentators -- the dry crack of the ax and splitting apart evoke the cold light shed by the moon.
However, i also think it significant the ku ends in the man (men) as subject making him (or them) more of a theme than would be the case had the man been in the middle seven and merely the subject. In English, this difference is hard to make. So, i feel the man himself takes in the quality of the the moon and wood and ax ...
I think it significant that in one version the ki is 薪 maki (firewood/brushwood）while several are ki, just "wood." That is why I felt it was starker reading the Japanese than i would have the "firewood" below.
Of the 4 bks with the ku, including his selfbrushed notebook, ku-chou (just ku, right), only the one with the word hokku included in the booktitle had the word firewood in it.
Robin D. Gill
. discussion of facebook .
寒月や門なき寺の天高し
kangetsu ya mon naki tera no ten takashi
(1768)
cold moon -
a temple without gate and
the high autumn sky
Tr. Gabi Greve
. WKD : kangetsu 寒月（かんげつ）"moon in the cold", moon on a cold night .
kigo for winter
. WKD : ten takashi 天高し "high sky", "high heaven" .
kigo for autumn
kangetsu ya tani ni cha o kumu mine no tera
cold winter moon -
down the valley water is scooped
for the temple at the summit
Tr. Gabi Greve
都人にたらぬふとんや峰の寺
. miyabito ni taranu futon ya mine no tera .
寒月や鋸岩のあからさま
寒月や門をたゝけば沓の音
....................................................................................................................................................
momiji shite tera aru sama no kozue kana
The leaves turn scarlet so
There must be a temple
Hidden among the treetops.
Tr. McAuley
....................................................................................................................................................
菜の花や摩耶を下れば日の暮るる
. na no hana ya maya o kudareba hi no kururu .
Temple Butsumo Maya San Tooriten Jooji 仏母麻耶山忉利天上寺
Maya san Tenjooji 摩耶山天上寺 Tenjo-Ji. Hyogo
....................................................................................................................................................
ootera ni meshi no sukunaki sakura kana
(1769)
at the huge temple
the food is meager
for cherry blossom viewers . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
....................................................................................................................................................
鹿ながら山影門に入日哉
shika nagara yamakage mon ni irihi kana
together with a deer
a mountain's shadow at the temple gate
in the setting sun . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
. Konpukuji, Konbukuji 金福寺 / 金福寺 temple Konbuku-Ji .
Kyoto
Buson wrote the following haiku at this temple:
耳目肺腸ここに玉巻く芭蕉庵
三度啼きて聞こえずなりぬ鹿の声
鹿ながら山影門に入日哉
畑うつやうごかぬ雲もなくなりぬ
冬ちかし時雨の雲もここよりぞ
我も死して碑にほとりせむ枯尾花
....................................................................................................................................................
tenzoo no niwa no kogiku ya ginkakuji
(1777)
the small chrysanthemum flowers
in the garden of the temple cook -
Silver Pavillion
Tr. Gabi Greve
. Ginkajuji 銀閣寺 Ginkaku-Ji, the Silver Pavillion in Kyoto .
. tenzoo 典座 the Zen cook .
....................................................................................................................................................
寺寒く樒はみこぼす鼠かなt
tera samuku shikimi hamikobosu nezumi kana
a cold temple
and the mice are gnawing
star anise . . . . .
Tr. Gabi Greve
shikimi is used to purify the body and soul by monks.
. WKD : shikimi no hana 樒の花 shikimi blossoms .
Skimmia japonica
Illicium anisatum - commonly known as the Japanese star anise
....................................................................................................................................................
としひとつ積るや雪の小町寺
toshi hitotsu tsumoru ya yuki no komachidera
(1773)
Another year
Accumulates -- Snow at
Komachi Temple.
Tr. Nelson/Saito
Fudara-Ji 補陀洛寺（小町寺 Komachidera ）
. Ono no Komachi 小野 小町 .
c. 825 — c. 900. Waka Poetess and Famous Beauty
....................................................................................................................................................
妻も子も寺で物くふ野分かな
tsuma mo ko mo tera de mono kuu nowaki kana
(1783)
mothers and children
eat at the temple
during the typhoon . . .
Tr. Gabi Greve
The cut marker KANA is at the end of line 3.
tsuma mo ko mo lit. "wives and children"
Even in our times in rural Japan, people evacuate to special centers or the local temple during a typhoon.
....................................................................................................................................................
裏門の寺に逢着す蓬かな
ura-mon no tera ni hochakusu yomogi kana
At the back gate
of the temple, I arrive to find
a growth of mugwort.
Tr. McAuley
....................................................................................................................................................
山寺の硯に早し初氷
yamadera no suzuri ni hayashi hatsugoori
the ink stone
of this mountain temple has it early -
the first ice
Tr. Gabi Greve
yamadera ya tsuki sokonai no kane kasumu
A mountain temple;
The sound of the bell struck fumblingly,
Vanishing in the haze.
Tr. Blyth
A temple on a mountain--
Its bell struck amiss
In the haze.
Tr.Nelson/Saito
A mountain temple--
a bell struck clumsily
resounds blurred in the fog.
Tr. Sawa/ Shiffert
. WKD : yamadera 山寺 a mountain temple .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
To join BUSON on Facebook, click the image!
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. WKD : Yosa Buson 与謝蕪村 - Introduction .
. Yosa Buson 与謝蕪村 in Edo .
. ABC - List of Buson's works in the WKD .
buson
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
8/18/2013
Kaomise - Kabuki
[ . BACK to DARUMA MUSEUM TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Kaomise 顔見世 "Showing the Faces"
Seasonal debut of the Kabuki Theater actors
..... Tsuramise 面見世
..... Ashi zoroe 足揃 actors' lineup
shibai shoogatsu 芝居正月 New Year Performance
Kabuki shoogatsu 歌舞伎正月 Kabuki New Year
observance kigo for mid-winter
. WKD : Kabuki and Kigo .
source : olaf-mama.at.webry.info
quote
Kabuki Theater and Kaomise
Kabuki is a popular traditional stage drama in Japan performed exclusively by men along with songs and music.
Its history began in 1603, when Okuni, a miko (Shinto shrine maiden) of Izumo Taisha Shrine started performing a new style of dance drama on the dry river beds of Kyoto. At that time, female performers played both male and female roles about ordinary life. It was a form very different from its modern incarnation and because much of its appeal was due to the ribald, suggestive performances, women were banned from the stage in 1629 for the purpose of protecting public morality. However, since Kabuki was already so popular, young male actors took over. Along with the change in gender came a change in the emphasis of the performance. More emphasis was placed on drama rather than dance and today Kabuki is performed only by men. Overseas visitors are often impressed due to the women's roles performed very gracefully by male actors.
Another unique facet of Kabuki is the long narrow extension of the stage that runs through the audience to the rear of the theatre. This is called "Hanamichi" (literally called "Flower Passage") and it enables actors to come into closer contact with the audience.
In Kyoto, there were seven Kabuki stages in the 17th century but only the Minami-za Theater remains to this day.
Kaomise is literally the "Face-showing" ceremony of a theater to celebrate the opening a new season and its new troupe during the Edo Period. At Minami-za it is held in December.
source : www.kyoto.travel
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Daruma and Kabuki actors
Toyohara Kunichika 豊原国周 (835-1900)
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Edo no shokunin 江戸の職人 Edo craftsmen .
source : edoichiba.jp.sibaidougu...
shibai doogu kata 芝居道具方 craftsman making tools for a performance
Making large stage items like mountains and rivers, buildings from wood -大道具方
Making small items for the performers, like swords - 小道具方
- quote
- Illustration of the Prosperity of the Great Theaters -
This picture depicts "'kurumabiki (cart pulling)", a scene from Sugawara Denju Tenarai Kagami,
highly popular piece among the many kabuki kyōgen plays such as "Yoshitsune Senbon Zakura"
and "Kanadehon Chūshingura". In this work we can see the liveliness of the audience enjoying the play.
As one of the famous kabuki kyōgen plays, "Sugawara Denju Tenarai kagami"
is a story based on the actual historical events of
Sugawara no Michizane (Right Minister, also known as Kan Shōjō) who, due to a plot
concocted by rival Fujiwara no Tokihira (Left Minister), was exiled to Dazaifu in Kyūshū.
The play tells the story of the faithfulness of three brothers Umeō, Matsuō and Sakuramaru,
to the Sugawara family.
The "kurumabiki (cart driver)" scene is one of the famous aragoto (rough scenes) from the play.
The actors depicted in this work are believed to be the actual portraits of the actors
who played roles of Shihei, Matsuō, Umeō and Sakuramaru,
namely Ichikawa Kodanji IV, Nakamura Fukusuke I, Kawarasaki Gonjūrō I, and Bandō Hikosaburō I respectively.
However, since the actual record of this performance of "kurumabiki" with this cast
could not be found within historical records around 1859 (Ansei 6) when the seal that allowed
this piece to be published was renewed, it is believed that this scene
does not depict an actual performance, but is a mitate-e (analogue print).
- quote
Quick Practice to Draw Portraits of Kabuki Actors
Yakusha Nigao Hayageiko
This is a guide book for how to draw portraits of Kabuki actors, written by Toyokuni I, an actor illustration expert.
The illustrations of Kabuki actors were so popular that this kind of guide book was published.
Kabuki actors' prints that depicted their performance on the stage and daily lives started as portraits in around the Meiwa era (1764-1772).
They played a role similar to modern-day stars' pictures, and were produced/sold in large numbers.
This work sold well as a guide book for how to draw portraits of kabuki actors.
Ichikawa Danjūrō V (right) was replaced with Danjūrō VII (left) in the later version,
which indicates that this guide book had been sold for a long time.
This book gives clear explanations, including
"When you draw a person's face, you should start with the nose and then mouth and eyes as shown in this picture."
In addition, this guide book includes explanations such as
"Abbreviated Portraits of Kabuki Actors",
which illustrates the points to draw a portrait well, and
"Essentials of Wigs for Stage" and "Technique to Draw Human Body and Costume",
which illustrates the technique to draw a body first and then put costume on it.
. source - Tokyo Metropolitan Museum .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U - - - - -
- - - - - Yosa Buson - - - - -
kaomise no maku ni yahan no arashi kana
Against the theatre curtains
At the season's start
Blows the midnight tempest.
Tr. Nelson/Saito
顔見世やふとんをまくる東山
kaomise ya futon o makuru Higashiyama
顔見世や夜着をはなるる妹が許
kaomise ya yogi o hanaruru imo ga gari
kaomise ya sude ni ukiyo no meshi jibun
(1776)
A theatrical season, its first day enjoyed--
Already in this world of sadness
Time to eat
Tr. Nelson/Saito
tabidachi ya kaomise no himo miyuru naru
(1768)
Leaving on a journey--
Lights are seen
The theatrical season begins.
Tr. Nelson/Saito
. Yosa Buson 与謝蕪村 in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
顔見世の大番付の端役かな
kaomise no daibanzuke no hayaku kana
on the great showbill
for the Kaomise performance
just a side actor . . .
Tr. Gabi Greve
. 富安 風生 Tomiyasu Fusei .
1885 - 1979
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
顔見世を見るため稼ぎ溜めしとか
kaomise o miru tame kasegi-tameshi to ka
just to watch Kaomise
they work and save money -
or so they say
Tr. Gabi Greve
. Takahama Kyoshi 高浜 虚子 .
1874 - 1959
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
顔見世や戻りにそしる雪の寸 来山 Raizan
皃見せや伏見くらまの夜の旅 召波 Shooha
顔みせや空だきものゝ舟一片 召波
顔みせの難波のよるは夢なれや 太祇 Taigi
顔みせや状を出しあふ宇津の山 太祇 Taigi
顔見せや北斗に競ふ炭だはら 几董 Kitoo
かほみせや矢倉に起る霜の声 几董
顔見世の前景気とはなりにけり 草城
顔見世の京に来て見る入日かな 万太郎 Mantaro
顔見世やおとづれはやき京の雪 万太郎 Manraro
顔見世の連弾冴ゆる月冴ゆる 秋櫻子 Shuuooshi / Shuoshi
顔見世や櫓の月も十五日 秋櫻子
顔見世や鳳凰しろき櫓幕 秋櫻子
顔見世といへばなつかし吉右衛門 立子 Tatsuko
顔見世に高野の僧も参ずるか 林火 Rinka
source : 顔見世
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote -
Annual Events of the Edo Theatres- Person who Listen to Rumors
(Ōedo Shibai Nenjū Gyōji Series Fūbun kiki)
大江戸しばゐねんぢうぎやうじ 風聞き
This work depicts a soba (buckwheat noodle) stand in front of the Ichimuraza Theater, which is one of the three officially recognized Kabuki theaters of Edo. "Nihachi" (literally 'two-eight') came from the noodles that cost sixteen (two times eight) mon a bowl and also from the proportion of 20 parts udon flour to 80 parts soba flour.
Ōedo Shibai Nenjū Gyōji painted by Adachi Ginkō
is a set of 26 pictures that depicts the manners and customs relating to plays/theaters in Saruwaka-chō (near Asakusa 6-chōme in Taitō ward), which used to be a theater town. The title of picture "fūbun kiki" refers to the person who informs the entrepreneurs of what was talked about amongst the audience in front of the theater about the play they had just watched. The entrepreneurs often changed the story of a play based on the reviews of the audience.
This picture depicts a man who holds a bowl in front of the Nihachi soba stand. He was eating something like kake-soba (buckwheat noodles in hot broth). The eating style of soba that is put in a bowl of hot broth as shown in the picture started in the mid-Edo period.
- source : Tokyo Metropolitan Museum -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- ##kabuki ##kaomise #shibai #theater -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Kaomise 顔見世 "Showing the Faces"
Seasonal debut of the Kabuki Theater actors
..... Tsuramise 面見世
..... Ashi zoroe 足揃 actors' lineup
shibai shoogatsu 芝居正月 New Year Performance
Kabuki shoogatsu 歌舞伎正月 Kabuki New Year
observance kigo for mid-winter
. WKD : Kabuki and Kigo .
source : olaf-mama.at.webry.info
quote
Kabuki Theater and Kaomise
Kabuki is a popular traditional stage drama in Japan performed exclusively by men along with songs and music.
Its history began in 1603, when Okuni, a miko (Shinto shrine maiden) of Izumo Taisha Shrine started performing a new style of dance drama on the dry river beds of Kyoto. At that time, female performers played both male and female roles about ordinary life. It was a form very different from its modern incarnation and because much of its appeal was due to the ribald, suggestive performances, women were banned from the stage in 1629 for the purpose of protecting public morality. However, since Kabuki was already so popular, young male actors took over. Along with the change in gender came a change in the emphasis of the performance. More emphasis was placed on drama rather than dance and today Kabuki is performed only by men. Overseas visitors are often impressed due to the women's roles performed very gracefully by male actors.
Another unique facet of Kabuki is the long narrow extension of the stage that runs through the audience to the rear of the theatre. This is called "Hanamichi" (literally called "Flower Passage") and it enables actors to come into closer contact with the audience.
In Kyoto, there were seven Kabuki stages in the 17th century but only the Minami-za Theater remains to this day.
Kaomise is literally the "Face-showing" ceremony of a theater to celebrate the opening a new season and its new troupe during the Edo Period. At Minami-za it is held in December.
source : www.kyoto.travel
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Daruma and Kabuki actors
Toyohara Kunichika 豊原国周 (835-1900)
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Edo no shokunin 江戸の職人 Edo craftsmen .
source : edoichiba.jp.sibaidougu...
shibai doogu kata 芝居道具方 craftsman making tools for a performance
Making large stage items like mountains and rivers, buildings from wood -大道具方
Making small items for the performers, like swords - 小道具方
- quote
- Illustration of the Prosperity of the Great Theaters -
highly popular piece among the many kabuki kyōgen plays such as "Yoshitsune Senbon Zakura"
and "Kanadehon Chūshingura". In this work we can see the liveliness of the audience enjoying the play.
As one of the famous kabuki kyōgen plays, "Sugawara Denju Tenarai kagami"
is a story based on the actual historical events of
Sugawara no Michizane (Right Minister, also known as Kan Shōjō) who, due to a plot
concocted by rival Fujiwara no Tokihira (Left Minister), was exiled to Dazaifu in Kyūshū.
The play tells the story of the faithfulness of three brothers Umeō, Matsuō and Sakuramaru,
to the Sugawara family.
The "kurumabiki (cart driver)" scene is one of the famous aragoto (rough scenes) from the play.
The actors depicted in this work are believed to be the actual portraits of the actors
who played roles of Shihei, Matsuō, Umeō and Sakuramaru,
namely Ichikawa Kodanji IV, Nakamura Fukusuke I, Kawarasaki Gonjūrō I, and Bandō Hikosaburō I respectively.
However, since the actual record of this performance of "kurumabiki" with this cast
could not be found within historical records around 1859 (Ansei 6) when the seal that allowed
this piece to be published was renewed, it is believed that this scene
does not depict an actual performance, but is a mitate-e (analogue print).
- quote
Quick Practice to Draw Portraits of Kabuki Actors
Yakusha Nigao Hayageiko
The illustrations of Kabuki actors were so popular that this kind of guide book was published.
Kabuki actors' prints that depicted their performance on the stage and daily lives started as portraits in around the Meiwa era (1764-1772).
They played a role similar to modern-day stars' pictures, and were produced/sold in large numbers.
This work sold well as a guide book for how to draw portraits of kabuki actors.
Ichikawa Danjūrō V (right) was replaced with Danjūrō VII (left) in the later version,
which indicates that this guide book had been sold for a long time.
This book gives clear explanations, including
"When you draw a person's face, you should start with the nose and then mouth and eyes as shown in this picture."
In addition, this guide book includes explanations such as
"Abbreviated Portraits of Kabuki Actors",
which illustrates the points to draw a portrait well, and
"Essentials of Wigs for Stage" and "Technique to Draw Human Body and Costume",
which illustrates the technique to draw a body first and then put costume on it.
. source - Tokyo Metropolitan Museum .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U - - - - -
- - - - - Yosa Buson - - - - -
kaomise no maku ni yahan no arashi kana
Against the theatre curtains
At the season's start
Blows the midnight tempest.
Tr. Nelson/Saito
顔見世やふとんをまくる東山
kaomise ya futon o makuru Higashiyama
顔見世や夜着をはなるる妹が許
kaomise ya yogi o hanaruru imo ga gari
kaomise ya sude ni ukiyo no meshi jibun
(1776)
A theatrical season, its first day enjoyed--
Already in this world of sadness
Time to eat
Tr. Nelson/Saito
tabidachi ya kaomise no himo miyuru naru
(1768)
Leaving on a journey--
Lights are seen
The theatrical season begins.
Tr. Nelson/Saito
. Yosa Buson 与謝蕪村 in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
顔見世の大番付の端役かな
kaomise no daibanzuke no hayaku kana
on the great showbill
for the Kaomise performance
just a side actor . . .
Tr. Gabi Greve
. 富安 風生 Tomiyasu Fusei .
1885 - 1979
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
顔見世を見るため稼ぎ溜めしとか
kaomise o miru tame kasegi-tameshi to ka
just to watch Kaomise
they work and save money -
or so they say
Tr. Gabi Greve
. Takahama Kyoshi 高浜 虚子 .
1874 - 1959
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
顔見世や戻りにそしる雪の寸 来山 Raizan
皃見せや伏見くらまの夜の旅 召波 Shooha
顔みせや空だきものゝ舟一片 召波
顔みせの難波のよるは夢なれや 太祇 Taigi
顔みせや状を出しあふ宇津の山 太祇 Taigi
顔見せや北斗に競ふ炭だはら 几董 Kitoo
かほみせや矢倉に起る霜の声 几董
顔見世の前景気とはなりにけり 草城
顔見世の京に来て見る入日かな 万太郎 Mantaro
顔見世やおとづれはやき京の雪 万太郎 Manraro
顔見世の連弾冴ゆる月冴ゆる 秋櫻子 Shuuooshi / Shuoshi
顔見世や櫓の月も十五日 秋櫻子
顔見世や鳳凰しろき櫓幕 秋櫻子
顔見世といへばなつかし吉右衛門 立子 Tatsuko
顔見世に高野の僧も参ずるか 林火 Rinka
source : 顔見世
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote -
(Ōedo Shibai Nenjū Gyōji Series Fūbun kiki)
大江戸しばゐねんぢうぎやうじ 風聞き
This work depicts a soba (buckwheat noodle) stand in front of the Ichimuraza Theater, which is one of the three officially recognized Kabuki theaters of Edo. "Nihachi" (literally 'two-eight') came from the noodles that cost sixteen (two times eight) mon a bowl and also from the proportion of 20 parts udon flour to 80 parts soba flour.
Ōedo Shibai Nenjū Gyōji painted by Adachi Ginkō
is a set of 26 pictures that depicts the manners and customs relating to plays/theaters in Saruwaka-chō (near Asakusa 6-chōme in Taitō ward), which used to be a theater town. The title of picture "fūbun kiki" refers to the person who informs the entrepreneurs of what was talked about amongst the audience in front of the theater about the play they had just watched. The entrepreneurs often changed the story of a play based on the reviews of the audience.
This picture depicts a man who holds a bowl in front of the Nihachi soba stand. He was eating something like kake-soba (buckwheat noodles in hot broth). The eating style of soba that is put in a bowl of hot broth as shown in the picture started in the mid-Edo period.
- source : Tokyo Metropolitan Museum -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- ##kabuki ##kaomise #shibai #theater -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
8/14/2013
Buson - nishi higashi
[ . BACK to DARUMA MUSEUM TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Yosa Buson 与謝蕪村 in Edo .
(1715-1783)
Tozai Nanboku 東西南北 The Four Directions
East, higashi, too 東
West, nishi, kan, zai 西
South, minami, nan 南
North, kita, hoku (boku) 北
and the Four Gods, Shijin (四神)
. WKD : The Four Directions .
梅遠近南すべく北すべく
. ume ochikochi minami subeku kita subeku .
- - - - - The following hokku are introduced below:
asakawa no nishi shi higashi su wakaba kana
gekkoo nishi ni watareba kaei higashi ni ayumu kana
nanohana ya tsuki wa higashi ni hi wa nishi ni
nishi fukeba higashi ni tamaru ochiba kana
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
淺川の西し東す若葉かな
asakawa no nishi shi higashi su wakaba kana
By the shallow river,
to the west and to the east--
fresh new leaves
Tr. Sawa/ Shiffert
The cut marker KANA is at the end of line 3.
This refers to a Tang poem by Ri Ka 李華 （715 - 766):
宣陽城下草萋萋 澗水東流復向西
Around the castle Giyoo, spring grasses come into buds.
The shallow river flows toward east and then toward the west.
Tr. Uematsu
Senjoo 宣城 Senjo in China
....................................................................................................................................................
月光西にわたれば花影東に歩むかな
gekkoo nishi ni watareba kaei higashi ni ayumu kana
(kaei (Japanese reading: hana kage) is a reading used for the moonlight shadows on the cherry blossoms.)
light of the moon
moves west - flowers' shadows
creep eastward
Tr. unknown
As the moon's light moves across to the west
the flower's shadow to the east
is treading!
trans. Sawa & Shiffert
As the moon-brilliance westward makes its crossing, so
cherry-blossom shadows eastward
slowly go
Tr. Henderson
Why the long first line in these translations?
Here is Henderson's explanation:
The original, instead of having the conventional syllable count of 5,7, 5, has one of 11, 8, 5; it also has the kind of parallelism that one expects in a Chinese couplet. The long first line does give the effect of a slow passage of time, and there is a quite interesting contrast of the very "Chinese" 'gekkoo' with the very Japanese 'hana-kage', but Buson does not seem to have been wholly satisfied with the result, as he apparently never tried a similar experiment again.
Nevertheless this poem has often been cited, especially by later poets, as proof that a poem may vary very greatly from the standard 5, 7, 5 form and still be haiku.
And Ueda comments:
The moon poem is another outstanding example of Buson's verbal craftsmanship, its extra-long first phrase suggesting the slow movement of the moon across the sky. It also hints at the length of time the poet has been roaming under the cherry blossoms.
And here is Robin Gill's take on it:
gekkoo nishi ni watareba kaei higashi ni ayumu kana
'at moon-cross bridge'
westward moon
as the blossom shadows
move eastward
the moon wests
and the blossoms creep
toward the east
as the moon wests
eastward crawl the shadows
of the full moon
Gill's comment:
Besides shade cast in a recognizable form, shadows once included reflections and what we might call the sight of a thing today. The Chinese character used by Buson favors my second reading where the shadow "moving Eastward" is not shade but the sight of illuminated blossoms as the light of the Westing moon leaves the valleys and climbs the West slopes of the hills viewed to the East of the poet. The moon-light... seems to mean the moon-as-a-light: it is just the moon.
Compiled by Larry Bole - - - Translating Haiku Forum
As the moonlight crosses toward the west
The silhouette of cherry blossoms
To the east proceeds.
Tr. Nelson/Saito
As the moon's light moves across to the west
the flower's shadow
to the east is treading!
Tr. Sawa/ Shiffert
the moonlight moves westward
the shadows of the cherry blossoms
move eastward
Tr. Gabi Greve
....................................................................................................................................................
The white sun sinks into the western slopes,
the pale moon rises over the eastern peaks.
For ten thousand leagues the light shines,
Over a great distance the sky is bright.
- tr. Cheryl A. Crowley -
Tao Yuanming
Gabi Greve - Na no Hana 菜の花 - kigo
菜の花や月は東に日は西に
nanohana ya tsuki wa higashi ni hi wa nishi ni
rapeseed blossoms -
the moon in the east
the sun in the west
Tr. Gabi Greve
..........................................................................
rape-flowers -
the moon in the east
the sun in the west
Tr. Crowley
Read : a Chinese poem by Tao Yuanming and
a verse by Kakinomoto Hitomaro :
source : http://books.google.co.jp
東（ひんがし）の野に炎（かぎろい）の立つ見えて
かへり見すれば月かたぶきぬ
hingashino no ni kagiroi no tatsu-miete kaeri misureba tsuki katabukinu
in the east on the hills, dawn light rises,
and the moon is going to set on the other side
On the eastern plain is seen a flickering of glowing dawn:
Looking back, I see the moon setting in the west.
Tr. McFarland
- Kakinomoto Hitomaro 柿本人麻呂 -
..........................................................................
quote
Rape blossoms ━
Look! The moon rising,
The sun setting.
Expanse of rape blossoms;
The moon in the east,
The sun in the west.
- - Note from Kito 几董:
"On the 23rd of March on the lunar calendar the Haiku was improvised. We had supposed it would be about four o'clock p.m. in a long day of spring and that the phenomenon would happen around the 10th day of the month. The moon was already seen in the daytime and there was seen a vast sea of rape blossoms and it looked as though there was nothing to be seen all around.”
Impression:
The Haiku, well known to most Japanese elderly people, is one of the leading poems by Buson.I think the value of the Haiku lies in that "the Poet is deeply moved by the grandeur of Nature at one time of a spring day, and rape blossoms, the moon, and the sun are all focused simultaneously in his field of vision. The scene in the Haiku is a comprehensive view. We see the three of them in their proper perspective, “according to our own preference.”
But, here a question arises; the scene in the Haiku is rarely seen in reality. The probability may be next to zero, of seeing the actual scene of the kind, the sun in the west and the moon in the east, just in symmetry. It was probably impossible for the Poet to actually see such a scene in his life. Prof. Tsutomu Ogata comments that it was evening around the 15th of the month on the lunar calendar. Probably the Poet saw either the moon or the sun, and even though both were seen at the same time, I suppose they were not hanging separately, well balanced on the canvas of his field of vision - one in the east and the other in the west just in symmetry, without either of which being higher or lower.
We readers can't help but admit the Poet developed his poetic image in creating the Haiku and accept his sophisticated imagination, which, as a successful result, has turned out to be timeless and universal as well.
source : Kumano Shoji
..........................................................................
mustard flowers
with the moon in the east
the sun in the west
Tr. and following comments by Makoto Ueda
' Mustard Flower' (Na no hana ya) is a kasen written in 1774, after the haikai reform movement was well under way. Buson and his followers were seeking closer ties with poets of other reform groups, such as Chora and Kyootai...
On May 5, Buson and Kitoo had a chance to spend a good part of the day with Chora...
The three poets joined forces to compose two kasen that day, 'Mustard Flowers' in the daytime and 'As I Pause' (Tatazumeba) at night. ..."
"Spring. Mustard seed was the main source of vegetable oil consumed in Japan and many farms growing mustard used to be seen in the Japanese countryside.
In spring, city residents often organized picnics to enjoy the vista of bright yellow mustard flowers covering a wide area of suburban land. The scene described here was probably observed around the tenth of the lunar second month, when the moon rises before sunset.
Buson must have read one of T'ao Ch'ien's 'Miscellaneous Poems':
The bright sun sinking on the western bank
and the pale moon rising above the eastern ridge,
the earth looms in the rays of light that spread far out
and reach all the corners of the spacious sky.
source : translating Haiku forum
But why did Buson choose this flower for his poem (it comes with a lovely haiga by Buson, I could not locate yet...)
In his homeland, rapeseed was grown everywhere to prepare supplies of rapeseed oil for the lamps of the growing town of Edo. So the farmers were producing the "light" that could turn the night of Edo into a day.
This is a kind of nioizuke 匂い付け, letting us smell something ...
At the same temple Buson wrote
菜の花や摩耶を下れば日の暮るる
na no hana ya maya o kudareba hi no kururu
rapeseed flowers -
walking down from Maya temple
it is getting dark
. Maya Temple Visit
- - - - - - - - - -
Here is one modern haiku with respect to this one of Buson:
春の富士 東に明けて西の月
haru no fuji higashi ni akete nishi ni tsuki
Mount Fuji in Spring !
early morning in the east and
the moon in the West
Tr. Gabi Greve
source : 太聖 Daisho -
....................................................................................................................................................
- - - - - Buson on the anniversary of Basho's death
西吹けば東にたまる落ば哉 - - - nishi fukeba higashi ni tamaru ochiba kana
quote
nishi fukeba higashi ni tamaru ochiba kana
Have you noticed that old hokku often put the main subject of a verse last?
Buson does the same thing in another hokku:
Blown from the west,
They pile up in the east –
Fallen leaves.
To remember this technique, we might call it the “What is it?” technique.
... we ask, “What is it that blows from the east and piles up in the west? Answer: Fallen leaves.
source : David Coomler - Hokku
The cut marker KANA is at the end of line 3.
- - - - - - - - - -
nishi fukeba higashi ni tamaru ochiba kana
blowing from the west
fallen leaves gather
in the east
Larry Bole remarks:
Since the above was written on the anniversary of Basho's death, I suspect that it may have been inspired by Basho's:
柴の戸に茶の木の葉掻く嵐かな
shiba no to ni cha o konoha kaku asashi kana
against the brushwood gate
it sweeps the tea leaves:
windstorm
Tr. Barnhill
MORE - discussing various translations of
. - Shiba no To 柴の戸 Brushwood Gate - .
Matsuo Basho
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
To join BUSON on Facebook, click the image!
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. WKD : Yosa Buson 与謝蕪村 - Introduction .
. Yosa Buson 与謝蕪村 in Edo .
. ABC - List of Buson's works in the WKD .
busonnishihigashi
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Yosa Buson 与謝蕪村 in Edo .
(1715-1783)
Tozai Nanboku 東西南北 The Four Directions
East, higashi, too 東
West, nishi, kan, zai 西
South, minami, nan 南
North, kita, hoku (boku) 北
and the Four Gods, Shijin (四神)
. WKD : The Four Directions .
梅遠近南すべく北すべく
. ume ochikochi minami subeku kita subeku .
- - - - - The following hokku are introduced below:
asakawa no nishi shi higashi su wakaba kana
gekkoo nishi ni watareba kaei higashi ni ayumu kana
nanohana ya tsuki wa higashi ni hi wa nishi ni
nishi fukeba higashi ni tamaru ochiba kana
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
淺川の西し東す若葉かな
asakawa no nishi shi higashi su wakaba kana
By the shallow river,
to the west and to the east--
fresh new leaves
Tr. Sawa/ Shiffert
The cut marker KANA is at the end of line 3.
This refers to a Tang poem by Ri Ka 李華 （715 - 766):
宣陽城下草萋萋 澗水東流復向西
Around the castle Giyoo, spring grasses come into buds.
The shallow river flows toward east and then toward the west.
Tr. Uematsu
Senjoo 宣城 Senjo in China
....................................................................................................................................................
月光西にわたれば花影東に歩むかな
gekkoo nishi ni watareba kaei higashi ni ayumu kana
(kaei (Japanese reading: hana kage) is a reading used for the moonlight shadows on the cherry blossoms.)
light of the moon
moves west - flowers' shadows
creep eastward
Tr. unknown
As the moon's light moves across to the west
the flower's shadow to the east
is treading!
trans. Sawa & Shiffert
As the moon-brilliance westward makes its crossing, so
cherry-blossom shadows eastward
slowly go
Tr. Henderson
Why the long first line in these translations?
Here is Henderson's explanation:
The original, instead of having the conventional syllable count of 5,7, 5, has one of 11, 8, 5; it also has the kind of parallelism that one expects in a Chinese couplet. The long first line does give the effect of a slow passage of time, and there is a quite interesting contrast of the very "Chinese" 'gekkoo' with the very Japanese 'hana-kage', but Buson does not seem to have been wholly satisfied with the result, as he apparently never tried a similar experiment again.
Nevertheless this poem has often been cited, especially by later poets, as proof that a poem may vary very greatly from the standard 5, 7, 5 form and still be haiku.
And Ueda comments:
The moon poem is another outstanding example of Buson's verbal craftsmanship, its extra-long first phrase suggesting the slow movement of the moon across the sky. It also hints at the length of time the poet has been roaming under the cherry blossoms.
And here is Robin Gill's take on it:
gekkoo nishi ni watareba kaei higashi ni ayumu kana
'at moon-cross bridge'
westward moon
as the blossom shadows
move eastward
the moon wests
and the blossoms creep
toward the east
as the moon wests
eastward crawl the shadows
of the full moon
Gill's comment:
Besides shade cast in a recognizable form, shadows once included reflections and what we might call the sight of a thing today. The Chinese character used by Buson favors my second reading where the shadow "moving Eastward" is not shade but the sight of illuminated blossoms as the light of the Westing moon leaves the valleys and climbs the West slopes of the hills viewed to the East of the poet. The moon-light... seems to mean the moon-as-a-light: it is just the moon.
Compiled by Larry Bole - - - Translating Haiku Forum
As the moonlight crosses toward the west
The silhouette of cherry blossoms
To the east proceeds.
Tr. Nelson/Saito
As the moon's light moves across to the west
the flower's shadow
to the east is treading!
Tr. Sawa/ Shiffert
the moonlight moves westward
the shadows of the cherry blossoms
move eastward
Tr. Gabi Greve
....................................................................................................................................................
The white sun sinks into the western slopes,
the pale moon rises over the eastern peaks.
For ten thousand leagues the light shines,
Over a great distance the sky is bright.
- tr. Cheryl A. Crowley -
Tao Yuanming
Gabi Greve - Na no Hana 菜の花 - kigo
菜の花や月は東に日は西に
nanohana ya tsuki wa higashi ni hi wa nishi ni
rapeseed blossoms -
the moon in the east
the sun in the west
Tr. Gabi Greve
..........................................................................
rape-flowers -
the moon in the east
the sun in the west
Tr. Crowley
Read : a Chinese poem by Tao Yuanming and
a verse by Kakinomoto Hitomaro :
source : http://books.google.co.jp
東（ひんがし）の野に炎（かぎろい）の立つ見えて
かへり見すれば月かたぶきぬ
hingashino no ni kagiroi no tatsu-miete kaeri misureba tsuki katabukinu
in the east on the hills, dawn light rises,
and the moon is going to set on the other side
On the eastern plain is seen a flickering of glowing dawn:
Looking back, I see the moon setting in the west.
Tr. McFarland
- Kakinomoto Hitomaro 柿本人麻呂 -
..........................................................................
quote
Rape blossoms ━
Look! The moon rising,
The sun setting.
Expanse of rape blossoms;
The moon in the east,
The sun in the west.
- - Note from Kito 几董:
"On the 23rd of March on the lunar calendar the Haiku was improvised. We had supposed it would be about four o'clock p.m. in a long day of spring and that the phenomenon would happen around the 10th day of the month. The moon was already seen in the daytime and there was seen a vast sea of rape blossoms and it looked as though there was nothing to be seen all around.”
Impression:
The Haiku, well known to most Japanese elderly people, is one of the leading poems by Buson.I think the value of the Haiku lies in that "the Poet is deeply moved by the grandeur of Nature at one time of a spring day, and rape blossoms, the moon, and the sun are all focused simultaneously in his field of vision. The scene in the Haiku is a comprehensive view. We see the three of them in their proper perspective, “according to our own preference.”
But, here a question arises; the scene in the Haiku is rarely seen in reality. The probability may be next to zero, of seeing the actual scene of the kind, the sun in the west and the moon in the east, just in symmetry. It was probably impossible for the Poet to actually see such a scene in his life. Prof. Tsutomu Ogata comments that it was evening around the 15th of the month on the lunar calendar. Probably the Poet saw either the moon or the sun, and even though both were seen at the same time, I suppose they were not hanging separately, well balanced on the canvas of his field of vision - one in the east and the other in the west just in symmetry, without either of which being higher or lower.
We readers can't help but admit the Poet developed his poetic image in creating the Haiku and accept his sophisticated imagination, which, as a successful result, has turned out to be timeless and universal as well.
source : Kumano Shoji
..........................................................................
mustard flowers
with the moon in the east
the sun in the west
Tr. and following comments by Makoto Ueda
' Mustard Flower' (Na no hana ya) is a kasen written in 1774, after the haikai reform movement was well under way. Buson and his followers were seeking closer ties with poets of other reform groups, such as Chora and Kyootai...
On May 5, Buson and Kitoo had a chance to spend a good part of the day with Chora...
The three poets joined forces to compose two kasen that day, 'Mustard Flowers' in the daytime and 'As I Pause' (Tatazumeba) at night. ..."
"Spring. Mustard seed was the main source of vegetable oil consumed in Japan and many farms growing mustard used to be seen in the Japanese countryside.
In spring, city residents often organized picnics to enjoy the vista of bright yellow mustard flowers covering a wide area of suburban land. The scene described here was probably observed around the tenth of the lunar second month, when the moon rises before sunset.
Buson must have read one of T'ao Ch'ien's 'Miscellaneous Poems':
The bright sun sinking on the western bank
and the pale moon rising above the eastern ridge,
the earth looms in the rays of light that spread far out
and reach all the corners of the spacious sky.
source : translating Haiku forum
But why did Buson choose this flower for his poem (it comes with a lovely haiga by Buson, I could not locate yet...)
In his homeland, rapeseed was grown everywhere to prepare supplies of rapeseed oil for the lamps of the growing town of Edo. So the farmers were producing the "light" that could turn the night of Edo into a day.
This is a kind of nioizuke 匂い付け, letting us smell something ...
At the same temple Buson wrote
菜の花や摩耶を下れば日の暮るる
na no hana ya maya o kudareba hi no kururu
rapeseed flowers -
walking down from Maya temple
it is getting dark
. Maya Temple Visit
- - - - - - - - - -
Here is one modern haiku with respect to this one of Buson:
春の富士 東に明けて西の月
haru no fuji higashi ni akete nishi ni tsuki
Mount Fuji in Spring !
early morning in the east and
the moon in the West
Tr. Gabi Greve
source : 太聖 Daisho -
....................................................................................................................................................
- - - - - Buson on the anniversary of Basho's death
西吹けば東にたまる落ば哉 - - - nishi fukeba higashi ni tamaru ochiba kana
quote
nishi fukeba higashi ni tamaru ochiba kana
Have you noticed that old hokku often put the main subject of a verse last?
Buson does the same thing in another hokku:
Blown from the west,
They pile up in the east –
Fallen leaves.
To remember this technique, we might call it the “What is it?” technique.
... we ask, “What is it that blows from the east and piles up in the west? Answer: Fallen leaves.
source : David Coomler - Hokku
The cut marker KANA is at the end of line 3.
- - - - - - - - - -
nishi fukeba higashi ni tamaru ochiba kana
blowing from the west
fallen leaves gather
in the east
Larry Bole remarks:
Since the above was written on the anniversary of Basho's death, I suspect that it may have been inspired by Basho's:
柴の戸に茶の木の葉掻く嵐かな
shiba no to ni cha o konoha kaku asashi kana
against the brushwood gate
it sweeps the tea leaves:
windstorm
Tr. Barnhill
MORE - discussing various translations of
. - Shiba no To 柴の戸 Brushwood Gate - .
Matsuo Basho
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
To join BUSON on Facebook, click the image!
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. WKD : Yosa Buson 与謝蕪村 - Introduction .
. Yosa Buson 与謝蕪村 in Edo .
. ABC - List of Buson's works in the WKD .
busonnishihigashi
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
8/06/2013
Daimyo Yashiki
[ . BACK to DARUMA MUSEUM TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Daimyoo yashiki 大名屋敷 Daimyo Residence
CLICK for more photos.
The local lords had to have a residence in Edo at all times.
buke yashiki 武家屋敷 samurai residence
. daimyoo 大名 Daimyo, Lord of a Domain .
. buke yashiki 武家屋敷 at Katsuyama, Okayama .
shimo yashiki 下屋敷
naka yashiki 中屋敷
kami yashiki 上屋敷
quote
One of the residences granted to daimyou 大名 by the Edo government, as part of the system where feudal lords were compelled to spend alternate years away from their provinces, in Edo.
A daimyou's main residence in Edo was called kamiyashiki 上屋敷; the shimoyashiki, located outside of central Edo, was an additional residence used as a refuge in emergencies, or as a holiday retreat. Another spare Edo residence was the nakayashiki 中屋敷, usually inhabited by the younger generation who will succeed to the daimyou.
source : JAANUS
..............................................................................................................................................
. Kanda - The Estate of Lord Matsudaira 松平屋敷 .
under construction
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
quote
"Waterfront of Edo and Daimyo Yashiki"
Shinsuke Kaneyuki
This report focused on the visual relationship between daimyo yashiki (daimyo's residence) and water, through old pictures and photos.
Many mansions of daimyo were built along the waterfront and along the Sumida River in Edo. Many of them were shimo yashiki (a spare residence of daimyo located in the suburbs) with gardens, where the view toward the ocean or a river was important as borrowed landscape (shakkei) of the garden. For example, Hamayashiki of Sadanobu Matsudaira (Fig.1 Fukagawa) was built for water view from a shed called Shogetsusai, by borrowing the ocean view as the pond in the garden. In other mansions for daimyo, creative spaces for water view were commonly found such as a kind of lookout tower and tsukiyama (artificial hill in a garden). Meanwhile, the mansions with water view were not limited to waterside shimo yashiki; mansions on the upland of Yamanote (High City) had often the view of the bay of Edo.
The third storey lookout tower in a daimyo yashiki was based on the awareness of water view. Naka yashiki of the domain of Shimabara (Shimabara han) of Mita had three- storey building called "Tsukinami-rou", which was compared to Tungting lake (洞庭湖) and Yueyang tower (岳陽楼) in China ("Views of famed edo spots"). Other three-storey buildings were naka yashiki of Matsuyama-han on the north side of the Tsukinami-rou, Shimoyashiki of Shibata-han (Fig.2 Kobikicho), and kami yashiki of Hitotsubashi-Tokugawa family (wthin the Hitotsubashi-mon (gate)). The characteristics of "culture of view" in Edo focusing on the visual relationship with "water" can be seen in the locations or buildings of daimyo yashiki.
On the other hand, the buildings of daimyo yashiki composed the view of urban space of Edo. Though excluded from the list of notable spots, daimyo yashiki had been the original architecture of the Capital, Edo, attracting attentions of people by their magnificent facade. While daimyo yashiki can rarely be found in pictures, they had been often drawn in combination with water; e.g., kami yashiki of Saga-han (within the Yamashita-mon) painted in "Edo Shokei" by Hiroshige Ando, kami yashiki of Hikone-han (Fig.3, Sotosakurada) and kami yashiki of Nobeoka-han (Fig4, Toranomon). The waterside mansions were painted as a beautiful notable spot, and the water provided the spatial spread highlighting the architecture.
Fig. 5
In the Meiji era, mansions of nobility often took over former daimyo yashiki along the Sumida river, such as Hakozakitei of Yamauchi family (former lord of Tosa-han) (Fig.5 Shimo yashiki of former Tayasu-Tokugawa family). These residences had gardens and buildings with scenery, obtained by famous feudal domains in the early years of Meiji. This fact may show that water view had been considered as one of the values of a residence.
Photos :
source : eco-history.ws.hosei.ac.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U - - - - -
. Kobayashi Issa 小林一茶 in Edo .
大名の鶯弟子に持にけり
daimyoo no uguisu deshi ni mochi ni keri
the war lord's
nightingale
is an apprentice
Tr. David Lanoue
. WKD : Warlords and Samurai in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Daimyoo yashiki 大名屋敷 Daimyo Residence
CLICK for more photos.
The local lords had to have a residence in Edo at all times.
buke yashiki 武家屋敷 samurai residence
. daimyoo 大名 Daimyo, Lord of a Domain .
. buke yashiki 武家屋敷 at Katsuyama, Okayama .
shimo yashiki 下屋敷
naka yashiki 中屋敷
kami yashiki 上屋敷
quote
One of the residences granted to daimyou 大名 by the Edo government, as part of the system where feudal lords were compelled to spend alternate years away from their provinces, in Edo.
A daimyou's main residence in Edo was called kamiyashiki 上屋敷; the shimoyashiki, located outside of central Edo, was an additional residence used as a refuge in emergencies, or as a holiday retreat. Another spare Edo residence was the nakayashiki 中屋敷, usually inhabited by the younger generation who will succeed to the daimyou.
source : JAANUS
..............................................................................................................................................
. Kanda - The Estate of Lord Matsudaira 松平屋敷 .
under construction
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
quote
"Waterfront of Edo and Daimyo Yashiki"
Shinsuke Kaneyuki
This report focused on the visual relationship between daimyo yashiki (daimyo's residence) and water, through old pictures and photos.
Many mansions of daimyo were built along the waterfront and along the Sumida River in Edo. Many of them were shimo yashiki (a spare residence of daimyo located in the suburbs) with gardens, where the view toward the ocean or a river was important as borrowed landscape (shakkei) of the garden. For example, Hamayashiki of Sadanobu Matsudaira (Fig.1 Fukagawa) was built for water view from a shed called Shogetsusai, by borrowing the ocean view as the pond in the garden. In other mansions for daimyo, creative spaces for water view were commonly found such as a kind of lookout tower and tsukiyama (artificial hill in a garden). Meanwhile, the mansions with water view were not limited to waterside shimo yashiki; mansions on the upland of Yamanote (High City) had often the view of the bay of Edo.
The third storey lookout tower in a daimyo yashiki was based on the awareness of water view. Naka yashiki of the domain of Shimabara (Shimabara han) of Mita had three- storey building called "Tsukinami-rou", which was compared to Tungting lake (洞庭湖) and Yueyang tower (岳陽楼) in China ("Views of famed edo spots"). Other three-storey buildings were naka yashiki of Matsuyama-han on the north side of the Tsukinami-rou, Shimoyashiki of Shibata-han (Fig.2 Kobikicho), and kami yashiki of Hitotsubashi-Tokugawa family (wthin the Hitotsubashi-mon (gate)). The characteristics of "culture of view" in Edo focusing on the visual relationship with "water" can be seen in the locations or buildings of daimyo yashiki.
On the other hand, the buildings of daimyo yashiki composed the view of urban space of Edo. Though excluded from the list of notable spots, daimyo yashiki had been the original architecture of the Capital, Edo, attracting attentions of people by their magnificent facade. While daimyo yashiki can rarely be found in pictures, they had been often drawn in combination with water; e.g., kami yashiki of Saga-han (within the Yamashita-mon) painted in "Edo Shokei" by Hiroshige Ando, kami yashiki of Hikone-han (Fig.3, Sotosakurada) and kami yashiki of Nobeoka-han (Fig4, Toranomon). The waterside mansions were painted as a beautiful notable spot, and the water provided the spatial spread highlighting the architecture.
Fig. 5
In the Meiji era, mansions of nobility often took over former daimyo yashiki along the Sumida river, such as Hakozakitei of Yamauchi family (former lord of Tosa-han) (Fig.5 Shimo yashiki of former Tayasu-Tokugawa family). These residences had gardens and buildings with scenery, obtained by famous feudal domains in the early years of Meiji. This fact may show that water view had been considered as one of the values of a residence.
Photos :
source : eco-history.ws.hosei.ac.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U - - - - -
. Kobayashi Issa 小林一茶 in Edo .
大名の鶯弟子に持にけり
daimyoo no uguisu deshi ni mochi ni keri
the war lord's
nightingale
is an apprentice
Tr. David Lanoue
. WKD : Warlords and Samurai in Edo .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo and Motomachi
[ . BACK to DARUMA MUSEUM TOP . ]
. Famous Places and Powerspots of Edo 江戸の名所 .
. Sumida ku, Sumida-ku 墨田区 Sumida ward, "ink field" .
- see below for
本所相生町 Honjo-Aioi district
本所入江町 Honjo-Irie district
本所緑町 Honjo-Midori district
. Honcho 本町 Honcho districtct, Nakano ward .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo 本所 / ほんじょ
quote
Sumida (墨田区, Sumida-ku, "Field of Ink")
The ward was founded on March 15, 1947.
It was previously the (ordinary) wards Honjo and Mukojima. 向島 Mukojima, formed in 1932, contained the former town of Sumida, which along with the river gave the ward its name.
© More in the WIKIPEDIA !
The area used to be called Fukagawa in the Edo period.
Matsuo Basho lived in Fukagawa.
- Bashō-An, Bashoo-an 芭蕉庵 Basho-An in Fukagawa 深川 -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
. Higashi-Mukōjima 東向島 Higashi-Mukojima .
Terajima mura 寺島村 Terajima village / Terajimachō 寺島町 Terajima district
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote -
Honjo
On the east bank of the Sumida River, a short distance north of Ryogoku bridge and directly across the river from Asakusa, lies the quiet working-class neighborhood of Honjo. The Honjo neighborhood is one of the most recently built shitamachi (downtown) districts, and was not officially considered a part of Edo until 1719, after the Ryogoku bridge had been built and small craftsmen and labourers began to move into the area in fairly large numbers. Originally, the area was the site of a few "second houses" or shimo-yashiki maintained by some of the leading daimyo as places where they could go occasionally to get away from the hustle and bustle of the city, or where guests and retainers from the provinces could stay when they came to town. Even now, much of the area is still dotted with shimo-yashiki, as well as many shrines and temples. As a result, the area is greener and more open than other blue-collar areas of the city.
All the same, the majority of the people living in Honjo nowadays are craftsmen and labourers. Because the district is in a convenient location between the lumber yards of Kiba and the homes of lower-ranking samurai in Kanda and Surugadai, Honjo has attracted a lot of woodworkers and carpenters who have built their lumber yards and crafts halls along the major canals through this neighborhood. Their workshops are probably among the best-known of the crafts districts in this area. After the Ryogoku bridge was built, more and more people moved into the area. Some were craftsmen, others were small food merchants or boat pilots who make their living by ferrying goods and people from the rich farmland east of the river to the downtown areas of Edo.
Because it is relatively green and open, but is not too far from the center of Edo, Honjo has also become a popular recreation district for the working classes. The restaurants and chaya (teahouses) in this area are not quite as popular and as crowded as the ones in Ryogoku, nearby, but they tend to attract slightly wealthier customers. Many of the most famous ryori-chaya (literally "food teahouses") are located in Honjo. People often travel several hours from distant suburbs in order to eat at these restaurants, which serve sumptuous meals with as many as six or seven courses. The bakufu government tries to discourage people from spending too much money on expensive clothes and entertainment -especially the samurai, who get paid by the government. There are strict rules on the number of courses in a meal that each class of people are supposed to eat. For example, simple laborers are never supposed to have more than one type of soup and three types of side dish with their rice. Such a meal is called ichiju-sansai (one soup, three vegetables). However, in practice most restaurants that are away from the center of the city will turn a blind eye to a person's class as long as they have enough money to pay for the meal. Besides, there are also plenty of less expensive and less fancy chaya in the area as well.
To the north and east of Honjo, a vast, low-lying area of marshes and rice fields crisscrossed by several large rivers and hundreds of man-made waterways stretches away into the distance. Small villages dot the area, but much of it is still wild and unsettled. In fact, the rural nature of the landscape just outside the town area of Honjo is part of its charm. In the evening, you can often hear the yapping of kitusne (foxes) and tanuki (racoon dogs) coming from the nearby woods and marshes. In Japanese legends, both of these animals are believed to be very clever tricksters who can change their shape to fool humans. Many of the stories about the Honjo area involve people who are tricked by kitusne and tanuki.
On the fringe of these vast stretches of farmland, in the green and pleasant districts neighboring Honjo, are many famous sightseeing spots that are popular with samurai and townspeople alike. Immediately to the east of the main residential area, a five or ten minute boat ride down Tatekawa canal, is the Kameido Tenjin shrine. This shrine is dedicated to the god of knowledge, and many students come here to pray before taking their exams. However, that is not the main attraction of the temple. On the banks of a large reflecting pond in front of the temple are hundreds of wisteria vines, which have been carefully tended over hundreds of years, growing on trellises that hang over the still green water of the pond. In late May, when the wisteria are in full bloom, the entire area is a sea of purple blossoms. The long, dangling wisteria blooms reflected in the greenish water make a very picturesque topic for artists; some of the most famous ukiyoe prints depict the gardens at Kameido Tenjin. Incidentally, Kameido literally means "turtle well". As the name suggests, the pond at Kameido Tenjin is filled with hundreds of turtles, though the temple has been around for so long that no one is sure whether the temple was named after the turtles in this pond, or whether the pond was built to match the name of the temple.
To the north of Honjo is an area known as Mukojima. The name literally means "the island on the other side". It probably got this name because, if you look across the Sumida river from the temples at Asakusa, this low hill on the east bank of the river really does look like an island, rising out of the rivers and marshes. Mukojima is another popular sightseeing area. The eighth shogun, Yoshimune, is well known for his efforts to create nice parks and recreation areas for the citizens of the city. He was responsible for planting many groves of cherry trees in various parts of Edo, to provide places where the city dwellers could go for picnics. One of the largest of these cherry groves is in Mukojima. In early April, when the cherry blossoms are in full bloom, the whole hillside looks like a huge ball of cotton candy. The quiet, grassy fields of Mukojima are suddenly filled with a crowd of sightseeers from the city wandering among the trees or sitting in groups on large rush mats, enjoying a picnic lunch or drinking and singing songs to pass the afternoon.
- source : www.us-japan.org/edomatsu...-
向島桜 Cherry blossoms at Mukojima
小林清親 Kobayashi Kiyochika (1847 - 1915)
. Kameido choo 亀戸町 Kemeido, Kame-Ido "Turtle Well" .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- Sub-districts of Honjo
Azuma-bashi
Higashi Komagata
Honjo
Chitose
Irie
Ishiwara
Kamezawa
Kikukawa
. Kinshi 錦糸 Kinshi district .
Koto-bashi
Midori
. Narihira 業平 Narihira district .
Ryogoku (Sumo district)
Taihei
Yokoami
Tatekawa 竪川 (vertical river) / Yokokawa 横川 (horizontal river)
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo-Aioicho 本所相生町 Honjo-Aioi district
From the 1st to the 5th sub-district.
In the year 1688, there was the estate of the family of 本因坊 Honin-bo.
Honinbo Sansa 本因坊算砂 1612-1623
The house of Honinbo was one of the Four houses in the Edo Period in Japan.
- quote -
During the Edo period the Honinbo (本因坊, Hon'inbō) was the head of the Honinbo school (originally founded by Honinbo Sansa). Of the four traditional go schools, the Honinbo was the most prestigious and successful one. The last hereditary[1] Honinbo, Shusai, gave (or [ext] sold) his title to the Nihon Ki-in so as to turn it into a tournament title. This is a list of the historic Honinbos, including the heirs who did not succeed to the Head of the House. (Heirs will not have a number before their use name.)
- List of all the family members in generations.
- 1st Honinbo Tournament
The Honinbo title is the oldest Go tournament in the world and in some ways still the most prestigious in Japan,
- source : senseis.xmp.net/?Honinbo -
Honinbo Shusaku 本因坊秀策 Hon'inbō Shūsaku
Yasuda Eisai, Kuwahara Shusaku, Invincible Shusaku, born as Kuwabara Torajiro (桑原虎次郎)
(June 6, 1829 – September 3, 1862)
was a Japanese professional Go player from the 19th century.
- - - More in the WIKIPEDIA !
Hon'inbō Shūwa 本因坊秀和 Honinbo Shuwa (1820–1873)
a Japanese professional Go player, and also the fourteenth head of the Hon'inbō house from 1847 to 1873.
- - - More in the WIKIPEDIA !
The teaching of this school of go included:
To improve one's skills as one gets old and studies with its opponents, like a good couple which gets old together.
aioi was written 相老い to get old together.
相生 - to develop skills together
The haiku poet Kobayashi Issa lived in Aioi-Cho for some time.
This is called his 相生町時代 Aioi period.
Issa also lived in 小林一茶 旧居跡（緑一丁目） Honjo Midori district.
. Kobayashi Issa 小林一茶 . (1763 - 1828)
.......................................................................
There is also
Kanda Aioichō 神田相生町 Kanda Aioicho
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo-Iriecho 本所入江町 Honjo-Irie district
Midori緑, fourth sub-district
"the inlet at Honjo" where the river (or rather canal) 竪川 Tatekawa met the river 横川 Yokokawa,
on the West side of Yokokawa.
The river Tatekawa is an artificial river built in the Edo period. It crossed artificial river Yokokawa.
They were important waterways in the city.
. 本所林町 Honjo Hayashi district .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo-Midoricho, Midorichō 本所緑町 Honjo Midori "Green district"
緑一丁目から緑四丁目 from the first to the fourth sub-district
After the 明暦の大火 great fire of Meireki in 1657, this area on Honjo along the river 竪川 Tatekawa was developed for the many people who had lost their homes.
In 1689, the name Honjo Midori-Cho was created, with five sub-districts.
The name implies the hope for a "good life near the green auspicious pine trees".
There was an estate for the district head and some estates for Samurai.
In the Meiji period, the present-day 北斎通り Hokusai-dori street was created and the park 緑町公園 Midoricho Koen Park at Kamezawa 亀沢二丁目 remains with the name.
After World War II, when most buildings were destroyed, the modern concrete buildings begun to cover all.
The name 緑町 Midori-Cho (Midori district) was changed to simply - Midori 緑 (green).
緑町公園 Midoricho Koen Park
At the west end of 北斎通り Hokusai Dori
in Kamezawa, is the Edo Tokyo Museum which has a Hokusai display including the miniature diorama.
. Legend about kamikiri 髪切 hair cut off .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. 江戸 Edo - 妖怪 Yokai monsters, 幽霊 Yurei ghosts .
- Introduction -
Honjo Nana Fushigi 本所七不思議 - Seven Wonders of Honjo
The themes vary according to the sources:
Oitekebori, Oiteke-bori 置いてけ堀 / 置行堀 "leave it behind - canal"
baka bayashi 馬鹿囃子 (tanuki bayashi 狸囃子)
okuri choochin 送り提灯 "sending-off lantern"
ochiba shinai shii no ki 落葉しない椎の木 pasania tree without falling leaves
Tsugaru no taiko 津軽の太鼓 "Big Drum from Tsugaru"
kiezu andoo 消えずの行灯 - reference -
ashi-arai yashiki 足洗い屋敷 "Foot-washing mansion"
Tanukibayashi 狸囃子 The Procession of the Tanuki (bakabayashi)
akari nashi soba 燈無蕎麦 The Unlit Soba Shop
. Yokoami no kataba no ashi 横網の片葉の蘆 One-sided Reed .
江戸 本所の七不思議 Edo Honojo no Nana Fushigi
quote
The Seven Wonders of Honjo
Zack Davisson
Several of the ghost legends of Honjo were collected together and called the Honjo Nanafushigi (本所七不思議), the Seven Wonders of Honjo. The number seven is purely nominal; as in many places in the world, the number seven carries mystical significance and when you are telling ghost stories the “seven wonders” sounds scarier than the “nine wonders” or “eight wonders.”
Read the stories here:
• The “Leave it Behind” Straggler– 置行堀（Oite Kebori)
• The Sending-Off Lantern 送り提灯（Okuri Chochin)
• The “Following Wooden Clappers” 送り拍子木（Okuri Hyoshigi)
• The Unlit Soba Shop 燈無蕎麦 (Akarinashi Soba)
• The Foot Washing Mansion 足洗邸 (Ashiarai Yashiki)
• The One-sided Reed 片葉の葦 (Kataba no Ashi)
• The Chinkapin of Unfallen Leaves 落葉なき椎 (Ochiba Naki Shii)
• The Procession of the Tanuki 狸囃子（Tanuki Bayashi)
• The Taiko of Tsugaru 津軽の太鼓 (Tsugaru no Taiko)
source : hyakumonogatari.com
Translated Japanese Ghost Stories and
Tales of the Weird and the Strange
http://hyakumonogatari.com/
. Edo Nana Fushigi 江戸七不思議 The Seven Wonders of Edo .
....................................................................................................................................................
quote
"Water Specter in Edo-Seven Wonders of Honjo"
Yasuko Yokoyama
In the Edo era, people often talked about mysterious stories of Honjo area. Those stories had been referred to as "seven wonders in Honjo" at that time. This report focused on the formation of the story and its changes based on the characteristics of Honjo.
Already in the Middle Ages, seven mysterious stories were often summarized as "Seven Wonders". However, because Edo was a new city, seven wonders story did not exist in the early Edo era. In the mid-Edo period, the intellectuals in Edo began to collect mysteries close to their daily lives, which were recorded as seven wonders of Edo. Besides Honjo, Fukagawa, Senju, Bancho and Azabu had seven wonders stories. Seven wonders of Honjo were recorded in the essay of "Kasshi Yawa" by Seizan Matsuura, and became one of the popular themes of literature; for example, included in the "Nanafushigi Katsushika tan (seven wonders in Katsushika)" edited by second-generation Tanehiko Ryutei. Depending on the document, contents of seven wonders differ, besides "Oitekebori" and "Kataha no Yashi (ashi)".
Influenced by civilisation and enlightment, mysteries were not seriously believed in the Meiji era; however seven wonders of Honjo remained to be a local legend. The story was recorded in maps and topographies and often used to explain desolate scene of old Honjo area in literary works. Ryunosuke Akutagawa who had been brought up in Ryogoku, described that he believed seven wonders of Honjo in his work, "Shonen".
The story has often become the subject of public entertainment; professional storyteller, Hakuchi Matsubahashi used the theme, Goro Kadono made film, "Kaidan Honjo Nanafushigi (Scary Story, Seven Wonders of Honjo)" in the 32nd year of Showa, etc.
Since the short story, "Oitekebori" was written by Kido Okamoto in the Taisho era, various period novels were created on seven wonders of Honjo. One of the representative examples is "Honjo Fukagawa Fushigi Zoshi" by Miyuki Miyabe published in the 3rd year of the Heisei era. The book was remade into a TV drama, which lead to get the seven wonders story well known.
Recently, the shopping mall of Kinchicho has revitalized town using "Oitekebari" as key word. The seven wonders of Honjo has been cherished as the local cultural property. The consciousness of the local level may serve to the famousness compared to other seven wonder stories in Edo.
" Reading Waterfront Space in Edo"
source : eco-history.ws.hosei.ac.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Oitekebori, Oiteke-bori 置いてけ堀 / 置行堀 / 置いてけぼり "leave it behind" - canal
This canal is near Kinshicho 錦糸町.
The fishermen heard this sound and threw their catch back in the water or left their baskets just standing there.
One legend advises to throw three fish back into the canal. If you do not do so, you will get lost on your way back home and wander around the whole night.
One legend tells of a 河童 Kappa, who took the catch.
It even got its own statue in the 錦糸堀公園 Kinshibori Park.
It is said that the special kind of fish, kibachi ギバチ / 義蜂, Pseudobagrus tokiensis, that lives in this canal themselves make a special sound that could be interpreted as "oite ike oite ike".
And the one's who took the fish were most probably the clever cats who lived around there.
. Kinshi 錦糸 Kinshi district / 錦糸町 Kinshicho, Kinshimachi .
....................................................................................................................................................
baka bayashi 馬鹿囃子 (tanuki bayashi 狸囃子) Tanuki procession
quote
Tanuki-bayashi (狸囃子) is a strange phenonenon of sound, told about in legends across Japan. In the middle of night, they are musical sounds like flutes or drums heard out of nowhere.
In the Edo period, in Honjo, Sumida, Tokyo, they are also called baka-bayashi (馬鹿囃子), and as a ghost story that takes place in Honjo, they are counted as one of the Seven Mysteries of Honjo. When one thinks that one has heard the sound of an orchestra, even if one tries to walk towards where the sound is coming from, the sound goes further away as if it were trying to flee, so that it would be impossible to know the source of the sound. If dawn comes while one is following the sound, it is said that one would notice that one is in a place one has never seen before. Matsuura Seizan, the lord of the Hirado Domain, also encountered this strange phenomenon, and order people to find the source of the sound, but the sound disappeared near Warigesui, so that it was not possible to continue following it. Just like its name, it is said to be the work of a tanuki, and searches for tanuki were also conducted around locations where the sound was heard, but no traces of tanuki were able to be found either.
© More in the WIKIPEDIA !
source : 松徳硝子 Shotoku Glass
guinomi cups with the seven wonders of Honjo
. WKD : Tanuki 狸 the Badger of Japan .
. baka uma-shika 馬鹿 と伝説 Legends about the Baka Yokai .
....................................................................................................................................................
kataba no ashi, kataha no ashi 片葉の葦 One-sided Reed
Utagawa Kuniteru 歌川国輝
This comes with a murder story.
- quote -
There was a villain named Tomedo whose heart was wicked. He attempted to seduce a young widow named Oyoshi, who held an amulet in the shape of a shogi chess piece that he desired. When she refused him, he became enraged and killed her, pruning off her left leg and arm as if she were a bonsai tree and throwing them into a ditch.
- source : Zack Davisson -
The whole area of Honjo had been a swamp and many bones of people who died in the many fires of Edo had been thrown in here. It made Honjo a spooky place to the simple mind of the poor Edo population.
But reeds with leaves on only one side are common in areas with strong wind which regularly only blows from one direction.
They are known in other parts of Japan too.
.......................................................................
Fukushima 鹿島町 Kashima
. Yoshitsune 義経 and his horse Tayuguro 太夫黒 .
.......................................................................
Miyagi 宮城県 - 亘理町 Watari
. 鎌倉権五郎景政 Kamakura Gongorō Kagemasa .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Until our day, the local merchants profit from these stories.
Here are some waffles with the seven wonder themes.
CLICK for more photos !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. densetsu 伝説 More Legends from Honjo .
Honjo Ishiwara 本所石原町
Honjo Koume 本所小梅町
Honjo Matsui 本所松井町
Honjo Midori 本所緑町
Honjo Tatekawa 本所竪川通り町
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Honjo, 本所, not to mix with Honcho - - - - -
. Itabashi Honchoo 本町 Honcho district .
Honchoo, Honchō, Motomachi 本町 Honcho, Motomachi
Itabashi ward, Tokyo 板橋区
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U - - - - -
. WKD : Kobayashi Issa 小林一茶 in Edo .
本町や夷の飯の横がすみ
Honchoo ya Ebisu no meshi no yoko-gasumi
Old Quarter--
food for the God of Wealth
in mist
On the 20th day of Tenth Month (old calendar), a festival was held in honor of Ebisu, god of wealth. In the haiku, food offerings to the god meet a bank of mist.
The "Old Quarter" Honchoo was in the Nihonbashi section of Edo, today's Tokyo.
Tr. and comment by David Lanoue
. Ebisu and related KIGO
. Edo Nana Fushigi 江戸七不思議 The Seven Wonders of Edo .
. Famous Places and Powerspots of Edo 江戸の名所 .
. Sumida ku, Sumida-ku 墨田区 Sumida ward, "ink field" .
#sumidagawa 隅田川 River Sumida
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #edobakufu #honjo #kameido #midoricho #midori #midoridistrict #kinshicho -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. Famous Places and Powerspots of Edo 江戸の名所 .
. Sumida ku, Sumida-ku 墨田区 Sumida ward, "ink field" .
- see below for
本所相生町 Honjo-Aioi district
本所入江町 Honjo-Irie district
本所緑町 Honjo-Midori district
. Honcho 本町 Honcho districtct, Nakano ward .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo 本所 / ほんじょ
quote
Sumida (墨田区, Sumida-ku, "Field of Ink")
The ward was founded on March 15, 1947.
It was previously the (ordinary) wards Honjo and Mukojima. 向島 Mukojima, formed in 1932, contained the former town of Sumida, which along with the river gave the ward its name.
© More in the WIKIPEDIA !
The area used to be called Fukagawa in the Edo period.
Matsuo Basho lived in Fukagawa.
- Bashō-An, Bashoo-an 芭蕉庵 Basho-An in Fukagawa 深川 -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .
. Higashi-Mukōjima 東向島 Higashi-Mukojima .
Terajima mura 寺島村 Terajima village / Terajimachō 寺島町 Terajima district
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- quote -
Honjo
On the east bank of the Sumida River, a short distance north of Ryogoku bridge and directly across the river from Asakusa, lies the quiet working-class neighborhood of Honjo. The Honjo neighborhood is one of the most recently built shitamachi (downtown) districts, and was not officially considered a part of Edo until 1719, after the Ryogoku bridge had been built and small craftsmen and labourers began to move into the area in fairly large numbers. Originally, the area was the site of a few "second houses" or shimo-yashiki maintained by some of the leading daimyo as places where they could go occasionally to get away from the hustle and bustle of the city, or where guests and retainers from the provinces could stay when they came to town. Even now, much of the area is still dotted with shimo-yashiki, as well as many shrines and temples. As a result, the area is greener and more open than other blue-collar areas of the city.
All the same, the majority of the people living in Honjo nowadays are craftsmen and labourers. Because the district is in a convenient location between the lumber yards of Kiba and the homes of lower-ranking samurai in Kanda and Surugadai, Honjo has attracted a lot of woodworkers and carpenters who have built their lumber yards and crafts halls along the major canals through this neighborhood. Their workshops are probably among the best-known of the crafts districts in this area. After the Ryogoku bridge was built, more and more people moved into the area. Some were craftsmen, others were small food merchants or boat pilots who make their living by ferrying goods and people from the rich farmland east of the river to the downtown areas of Edo.
Because it is relatively green and open, but is not too far from the center of Edo, Honjo has also become a popular recreation district for the working classes. The restaurants and chaya (teahouses) in this area are not quite as popular and as crowded as the ones in Ryogoku, nearby, but they tend to attract slightly wealthier customers. Many of the most famous ryori-chaya (literally "food teahouses") are located in Honjo. People often travel several hours from distant suburbs in order to eat at these restaurants, which serve sumptuous meals with as many as six or seven courses. The bakufu government tries to discourage people from spending too much money on expensive clothes and entertainment -especially the samurai, who get paid by the government. There are strict rules on the number of courses in a meal that each class of people are supposed to eat. For example, simple laborers are never supposed to have more than one type of soup and three types of side dish with their rice. Such a meal is called ichiju-sansai (one soup, three vegetables). However, in practice most restaurants that are away from the center of the city will turn a blind eye to a person's class as long as they have enough money to pay for the meal. Besides, there are also plenty of less expensive and less fancy chaya in the area as well.
To the north and east of Honjo, a vast, low-lying area of marshes and rice fields crisscrossed by several large rivers and hundreds of man-made waterways stretches away into the distance. Small villages dot the area, but much of it is still wild and unsettled. In fact, the rural nature of the landscape just outside the town area of Honjo is part of its charm. In the evening, you can often hear the yapping of kitusne (foxes) and tanuki (racoon dogs) coming from the nearby woods and marshes. In Japanese legends, both of these animals are believed to be very clever tricksters who can change their shape to fool humans. Many of the stories about the Honjo area involve people who are tricked by kitusne and tanuki.
On the fringe of these vast stretches of farmland, in the green and pleasant districts neighboring Honjo, are many famous sightseeing spots that are popular with samurai and townspeople alike. Immediately to the east of the main residential area, a five or ten minute boat ride down Tatekawa canal, is the Kameido Tenjin shrine. This shrine is dedicated to the god of knowledge, and many students come here to pray before taking their exams. However, that is not the main attraction of the temple. On the banks of a large reflecting pond in front of the temple are hundreds of wisteria vines, which have been carefully tended over hundreds of years, growing on trellises that hang over the still green water of the pond. In late May, when the wisteria are in full bloom, the entire area is a sea of purple blossoms. The long, dangling wisteria blooms reflected in the greenish water make a very picturesque topic for artists; some of the most famous ukiyoe prints depict the gardens at Kameido Tenjin. Incidentally, Kameido literally means "turtle well". As the name suggests, the pond at Kameido Tenjin is filled with hundreds of turtles, though the temple has been around for so long that no one is sure whether the temple was named after the turtles in this pond, or whether the pond was built to match the name of the temple.
To the north of Honjo is an area known as Mukojima. The name literally means "the island on the other side". It probably got this name because, if you look across the Sumida river from the temples at Asakusa, this low hill on the east bank of the river really does look like an island, rising out of the rivers and marshes. Mukojima is another popular sightseeing area. The eighth shogun, Yoshimune, is well known for his efforts to create nice parks and recreation areas for the citizens of the city. He was responsible for planting many groves of cherry trees in various parts of Edo, to provide places where the city dwellers could go for picnics. One of the largest of these cherry groves is in Mukojima. In early April, when the cherry blossoms are in full bloom, the whole hillside looks like a huge ball of cotton candy. The quiet, grassy fields of Mukojima are suddenly filled with a crowd of sightseeers from the city wandering among the trees or sitting in groups on large rush mats, enjoying a picnic lunch or drinking and singing songs to pass the afternoon.
- source : www.us-japan.org/edomatsu...-
向島桜 Cherry blossoms at Mukojima
小林清親 Kobayashi Kiyochika (1847 - 1915)
. Kameido choo 亀戸町 Kemeido, Kame-Ido "Turtle Well" .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- Sub-districts of Honjo
Azuma-bashi
Higashi Komagata
Honjo
Chitose
Irie
Ishiwara
Kamezawa
Kikukawa
. Kinshi 錦糸 Kinshi district .
Koto-bashi
Midori
. Narihira 業平 Narihira district .
Ryogoku (Sumo district)
Taihei
Yokoami
Tatekawa 竪川 (vertical river) / Yokokawa 横川 (horizontal river)
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo-Aioicho 本所相生町 Honjo-Aioi district
From the 1st to the 5th sub-district.
In the year 1688, there was the estate of the family of 本因坊 Honin-bo.
Honinbo Sansa 本因坊算砂 1612-1623
The house of Honinbo was one of the Four houses in the Edo Period in Japan.
- quote -
During the Edo period the Honinbo (本因坊, Hon'inbō) was the head of the Honinbo school (originally founded by Honinbo Sansa). Of the four traditional go schools, the Honinbo was the most prestigious and successful one. The last hereditary[1] Honinbo, Shusai, gave (or [ext] sold) his title to the Nihon Ki-in so as to turn it into a tournament title. This is a list of the historic Honinbos, including the heirs who did not succeed to the Head of the House. (Heirs will not have a number before their use name.)
- List of all the family members in generations.
- 1st Honinbo Tournament
The Honinbo title is the oldest Go tournament in the world and in some ways still the most prestigious in Japan,
- source : senseis.xmp.net/?Honinbo -
Honinbo Shusaku 本因坊秀策 Hon'inbō Shūsaku
Yasuda Eisai, Kuwahara Shusaku, Invincible Shusaku, born as Kuwabara Torajiro (桑原虎次郎)
(June 6, 1829 – September 3, 1862)
was a Japanese professional Go player from the 19th century.
- - - More in the WIKIPEDIA !
Hon'inbō Shūwa 本因坊秀和 Honinbo Shuwa (1820–1873)
a Japanese professional Go player, and also the fourteenth head of the Hon'inbō house from 1847 to 1873.
- - - More in the WIKIPEDIA !
The teaching of this school of go included:
To improve one's skills as one gets old and studies with its opponents, like a good couple which gets old together.
aioi was written 相老い to get old together.
相生 - to develop skills together
The haiku poet Kobayashi Issa lived in Aioi-Cho for some time.
This is called his 相生町時代 Aioi period.
Issa also lived in 小林一茶 旧居跡（緑一丁目） Honjo Midori district.
. Kobayashi Issa 小林一茶 . (1763 - 1828)
.......................................................................
There is also
Kanda Aioichō 神田相生町 Kanda Aioicho
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo-Iriecho 本所入江町 Honjo-Irie district
Midori緑, fourth sub-district
"the inlet at Honjo" where the river (or rather canal) 竪川 Tatekawa met the river 横川 Yokokawa,
on the West side of Yokokawa.
The river Tatekawa is an artificial river built in the Edo period. It crossed artificial river Yokokawa.
They were important waterways in the city.
. 本所林町 Honjo Hayashi district .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Honjo-Midoricho, Midorichō 本所緑町 Honjo Midori "Green district"
緑一丁目から緑四丁目 from the first to the fourth sub-district
After the 明暦の大火 great fire of Meireki in 1657, this area on Honjo along the river 竪川 Tatekawa was developed for the many people who had lost their homes.
In 1689, the name Honjo Midori-Cho was created, with five sub-districts.
The name implies the hope for a "good life near the green auspicious pine trees".
There was an estate for the district head and some estates for Samurai.
In the Meiji period, the present-day 北斎通り Hokusai-dori street was created and the park 緑町公園 Midoricho Koen Park at Kamezawa 亀沢二丁目 remains with the name.
After World War II, when most buildings were destroyed, the modern concrete buildings begun to cover all.
The name 緑町 Midori-Cho (Midori district) was changed to simply - Midori 緑 (green).
緑町公園 Midoricho Koen Park
At the west end of 北斎通り Hokusai Dori
in Kamezawa, is the Edo Tokyo Museum which has a Hokusai display including the miniature diorama.
. Legend about kamikiri 髪切 hair cut off .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. 江戸 Edo - 妖怪 Yokai monsters, 幽霊 Yurei ghosts .
- Introduction -
Honjo Nana Fushigi 本所七不思議 - Seven Wonders of Honjo
The themes vary according to the sources:
Oitekebori, Oiteke-bori 置いてけ堀 / 置行堀 "leave it behind - canal"
baka bayashi 馬鹿囃子 (tanuki bayashi 狸囃子)
okuri choochin 送り提灯 "sending-off lantern"
ochiba shinai shii no ki 落葉しない椎の木 pasania tree without falling leaves
Tsugaru no taiko 津軽の太鼓 "Big Drum from Tsugaru"
kiezu andoo 消えずの行灯 - reference -
ashi-arai yashiki 足洗い屋敷 "Foot-washing mansion"
Tanukibayashi 狸囃子 The Procession of the Tanuki (bakabayashi)
akari nashi soba 燈無蕎麦 The Unlit Soba Shop
. Yokoami no kataba no ashi 横網の片葉の蘆 One-sided Reed .
江戸 本所の七不思議 Edo Honojo no Nana Fushigi
quote
The Seven Wonders of Honjo
Zack Davisson
Several of the ghost legends of Honjo were collected together and called the Honjo Nanafushigi (本所七不思議), the Seven Wonders of Honjo. The number seven is purely nominal; as in many places in the world, the number seven carries mystical significance and when you are telling ghost stories the “seven wonders” sounds scarier than the “nine wonders” or “eight wonders.”
Read the stories here:
• The “Leave it Behind” Straggler– 置行堀（Oite Kebori)
• The Sending-Off Lantern 送り提灯（Okuri Chochin)
• The “Following Wooden Clappers” 送り拍子木（Okuri Hyoshigi)
• The Unlit Soba Shop 燈無蕎麦 (Akarinashi Soba)
• The Foot Washing Mansion 足洗邸 (Ashiarai Yashiki)
• The One-sided Reed 片葉の葦 (Kataba no Ashi)
• The Chinkapin of Unfallen Leaves 落葉なき椎 (Ochiba Naki Shii)
• The Procession of the Tanuki 狸囃子（Tanuki Bayashi)
• The Taiko of Tsugaru 津軽の太鼓 (Tsugaru no Taiko)
source : hyakumonogatari.com
Translated Japanese Ghost Stories and
Tales of the Weird and the Strange
http://hyakumonogatari.com/
. Edo Nana Fushigi 江戸七不思議 The Seven Wonders of Edo .
....................................................................................................................................................
quote
"Water Specter in Edo-Seven Wonders of Honjo"
Yasuko Yokoyama
In the Edo era, people often talked about mysterious stories of Honjo area. Those stories had been referred to as "seven wonders in Honjo" at that time. This report focused on the formation of the story and its changes based on the characteristics of Honjo.
Already in the Middle Ages, seven mysterious stories were often summarized as "Seven Wonders". However, because Edo was a new city, seven wonders story did not exist in the early Edo era. In the mid-Edo period, the intellectuals in Edo began to collect mysteries close to their daily lives, which were recorded as seven wonders of Edo. Besides Honjo, Fukagawa, Senju, Bancho and Azabu had seven wonders stories. Seven wonders of Honjo were recorded in the essay of "Kasshi Yawa" by Seizan Matsuura, and became one of the popular themes of literature; for example, included in the "Nanafushigi Katsushika tan (seven wonders in Katsushika)" edited by second-generation Tanehiko Ryutei. Depending on the document, contents of seven wonders differ, besides "Oitekebori" and "Kataha no Yashi (ashi)".
Influenced by civilisation and enlightment, mysteries were not seriously believed in the Meiji era; however seven wonders of Honjo remained to be a local legend. The story was recorded in maps and topographies and often used to explain desolate scene of old Honjo area in literary works. Ryunosuke Akutagawa who had been brought up in Ryogoku, described that he believed seven wonders of Honjo in his work, "Shonen".
The story has often become the subject of public entertainment; professional storyteller, Hakuchi Matsubahashi used the theme, Goro Kadono made film, "Kaidan Honjo Nanafushigi (Scary Story, Seven Wonders of Honjo)" in the 32nd year of Showa, etc.
Since the short story, "Oitekebori" was written by Kido Okamoto in the Taisho era, various period novels were created on seven wonders of Honjo. One of the representative examples is "Honjo Fukagawa Fushigi Zoshi" by Miyuki Miyabe published in the 3rd year of the Heisei era. The book was remade into a TV drama, which lead to get the seven wonders story well known.
Recently, the shopping mall of Kinchicho has revitalized town using "Oitekebari" as key word. The seven wonders of Honjo has been cherished as the local cultural property. The consciousness of the local level may serve to the famousness compared to other seven wonder stories in Edo.
" Reading Waterfront Space in Edo"
source : eco-history.ws.hosei.ac.jp
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Oitekebori, Oiteke-bori 置いてけ堀 / 置行堀 / 置いてけぼり "leave it behind" - canal
This canal is near Kinshicho 錦糸町.
The fishermen heard this sound and threw their catch back in the water or left their baskets just standing there.
One legend advises to throw three fish back into the canal. If you do not do so, you will get lost on your way back home and wander around the whole night.
One legend tells of a 河童 Kappa, who took the catch.
It even got its own statue in the 錦糸堀公園 Kinshibori Park.
It is said that the special kind of fish, kibachi ギバチ / 義蜂, Pseudobagrus tokiensis, that lives in this canal themselves make a special sound that could be interpreted as "oite ike oite ike".
And the one's who took the fish were most probably the clever cats who lived around there.
. Kinshi 錦糸 Kinshi district / 錦糸町 Kinshicho, Kinshimachi .
....................................................................................................................................................
baka bayashi 馬鹿囃子 (tanuki bayashi 狸囃子) Tanuki procession
quote
Tanuki-bayashi (狸囃子) is a strange phenonenon of sound, told about in legends across Japan. In the middle of night, they are musical sounds like flutes or drums heard out of nowhere.
In the Edo period, in Honjo, Sumida, Tokyo, they are also called baka-bayashi (馬鹿囃子), and as a ghost story that takes place in Honjo, they are counted as one of the Seven Mysteries of Honjo. When one thinks that one has heard the sound of an orchestra, even if one tries to walk towards where the sound is coming from, the sound goes further away as if it were trying to flee, so that it would be impossible to know the source of the sound. If dawn comes while one is following the sound, it is said that one would notice that one is in a place one has never seen before. Matsuura Seizan, the lord of the Hirado Domain, also encountered this strange phenomenon, and order people to find the source of the sound, but the sound disappeared near Warigesui, so that it was not possible to continue following it. Just like its name, it is said to be the work of a tanuki, and searches for tanuki were also conducted around locations where the sound was heard, but no traces of tanuki were able to be found either.
© More in the WIKIPEDIA !
source : 松徳硝子 Shotoku Glass
guinomi cups with the seven wonders of Honjo
. WKD : Tanuki 狸 the Badger of Japan .
. baka uma-shika 馬鹿 と伝説 Legends about the Baka Yokai .
....................................................................................................................................................
kataba no ashi, kataha no ashi 片葉の葦 One-sided Reed
Utagawa Kuniteru 歌川国輝
This comes with a murder story.
- quote -
There was a villain named Tomedo whose heart was wicked. He attempted to seduce a young widow named Oyoshi, who held an amulet in the shape of a shogi chess piece that he desired. When she refused him, he became enraged and killed her, pruning off her left leg and arm as if she were a bonsai tree and throwing them into a ditch.
- source : Zack Davisson -
The whole area of Honjo had been a swamp and many bones of people who died in the many fires of Edo had been thrown in here. It made Honjo a spooky place to the simple mind of the poor Edo population.
But reeds with leaves on only one side are common in areas with strong wind which regularly only blows from one direction.
They are known in other parts of Japan too.
.......................................................................
Fukushima 鹿島町 Kashima
. Yoshitsune 義経 and his horse Tayuguro 太夫黒 .
.......................................................................
Miyagi 宮城県 - 亘理町 Watari
. 鎌倉権五郎景政 Kamakura Gongorō Kagemasa .
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Until our day, the local merchants profit from these stories.
Here are some waffles with the seven wonder themes.
CLICK for more photos !
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
. densetsu 伝説 More Legends from Honjo .
Honjo Ishiwara 本所石原町
Honjo Koume 本所小梅町
Honjo Matsui 本所松井町
Honjo Midori 本所緑町
Honjo Tatekawa 本所竪川通り町
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - Honjo, 本所, not to mix with Honcho - - - - -
. Itabashi Honchoo 本町 Honcho district .
Honchoo, Honchō, Motomachi 本町 Honcho, Motomachi
Itabashi ward, Tokyo 板橋区
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
- - - - - H A I K U - - - - -
. WKD : Kobayashi Issa 小林一茶 in Edo .
本町や夷の飯の横がすみ
Honchoo ya Ebisu no meshi no yoko-gasumi
Old Quarter--
food for the God of Wealth
in mist
On the 20th day of Tenth Month (old calendar), a festival was held in honor of Ebisu, god of wealth. In the haiku, food offerings to the god meet a bank of mist.
The "Old Quarter" Honchoo was in the Nihonbashi section of Edo, today's Tokyo.
Tr. and comment by David Lanoue
. Ebisu and related KIGO
. Edo Nana Fushigi 江戸七不思議 The Seven Wonders of Edo .
. Famous Places and Powerspots of Edo 江戸の名所 .
. Sumida ku, Sumida-ku 墨田区 Sumida ward, "ink field" .
#sumidagawa 隅田川 River Sumida
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]
- #edobakufu #honjo #kameido #midoricho #midori #midoridistrict #kinshicho -
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Subscribe to:
Posts (Atom)