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25 Jul 2016

PERSONS - Kamada Matahachi Kamata

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Kamada Matahachi (Kamata Matahachi) 鎌田又八
(? 1657)

A fictional figure. Taken up in Kabuki.
梅鎌田大力巷説 Ume Kamata Daikikibanashi

There was a feud in a local samurai family of Iga (Mari) no Kanemitsu, who was having an affair with his brother's widow. The loyal retainer, Matahachi and the mistress of the Lord, 菊野 Kikuno, have to take the blame for it all.
They are set up as adulterers by 毬埜兼満　Mari no Kanemitsu and murdered for that crime by putting them in a basket, bound firmly back to back, and thrown in a river to drown.
But later the nun 経題尼 Kyodai-Ni tells the true story to rehabilitate them.

Matahachi was known as a strong man killing various Yokai monsters.

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

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

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

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

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Utagawa Kuniyoshi 歌川邦芳

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

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Sadashige aratame Kuniteru 貞重改国輝

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

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

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

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

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Utagawa KUNISADA

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

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

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

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

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

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

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. yookai, yōkai 妖怪 Yokai monsters .

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

. Join the Ukiyo-E friends on facebook ! .

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Posted By Gabi Greve to PERSONS - index - PERSONEN on 7/20/2016 01:21:00 pm

11 Jul 2016

PERSON - Priest Jiun Onko Sonja

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Jiun Onkoo 慈雲飲光 Priest Jiun Onko
(1718 – 1804/1805)
百不知童子、葛城山人、雙龍叟 - 慈雲尊者 Jiun Sonja

CLICK for more photos !

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- quote -
Daruma: "I do not know"
This painting represents the first Zen patriarch, often referred to as Daruma in Japanese, but more properly called by his Sanskrit name Bodhidharma. He is believed to have been moved from India to China in the fifth and sixth century and there, through meditation, finally came to understand the Buddhist law (dharma). This is why his figure often occurs alongside Zen calligraphy, representing the continuous struggle to learning the Buddhist teachings.

Images of Bodhidharma express his effort to established continuity with Zen Buddhist teachings. This painting belongs to that tradition but Jiun, thanks to his unique flaked style, transformed the silhouette of the patriarch in an abstract form: with only two strokes, the artist portrays the monk in meditation while, above, two characters stand out: "I do not know" (Fushiki).

The concept is short, direct and powerful. It refers to a dialogue between Daruma and Emperor Wu of the Liang Dynasty and capture the essence of Zen Buddhism: as reported in 'Hekiganroku (published in 1300), the emperor met the monk in the year 520, and asked him about how he had obtained for supporting Buddhism; when he says "absolutely nothing" the Emperor, irritated, asked what was then the foundation of Buddhism and the answer was "a great void and no holiness." More and more annoyed, he then asked "Who are you?" And Bodhidharma replied " I do not know".

After this dialogue Bodhidharma was no more welcome at the court and he took refuge in a cave in the Shaolin temple on Mount Song, where he sat in meditation for nine years. The painting represents this first development status of Chinese Zen tradition: Bodhidharma who sits still and quiet in front of a white wall.

Jiun Onko (Jiun Sonja), one of the greatest Japanese Zen artist, born in Osaka, joined the cloister when he was thirteen, studied the Confucianism, the Shingon esoteric Buddhism and the Soto Zen. He was an excellent scholar, he learned Sanskrit been interested in ancient Buddhist manuscripts and learn the basic teachings of Buddhism; he founded in fact a movement that wanted to bring Buddhism back to its origins ("True Dharma").

He was one of the reformers of the Edo period Zen and, still today, he is considered one of the greatest Zen calligraphers ever in Japan. His works are in all the museum collections of Japanese art all over the world.
- source : giuseppepiva.com/c -

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founder of 雲伝神道 Unden Shinto
葛城神道 Katsuragi Shinto

- quote -
Unden Shinto was founded by Jiun Sonja (1718-1804), a Shingon priest who attempted to enhance Shinto through a fusion with Buddhist and Confucian ideas. Comparing the similarities between the I Ching and Shinto writings on such views as the heavenly mandate, divination, numerology, gods and spirits, and politics, he alleged that the creation of
the I Ching may have been influenced by Shinto. According to Chinese tradition, Fu Hsi created the eight trigrams based on the Ho t'u (Yellow River diagram). Jiun speculated that the Ho t'u was inspired by a Shinto mirror: "The images of the Ho t'u were manifested through the Okitsu Mirror [a round bronze mirror kept in the geku (Outer Shrine) of the Ise Shrine, one of the ten Shinto treasures]. Fu Hsi used the Ho t'u as the base for drawing the eight trigrams." .....
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Jiun's discussions on the Shinto origins of the I Ching were only piecemeal. He did not address important questions, such as how Fu Hsi and other Chinese sages were influenced by Shinto. A full-fledged theory of the Shinto origins of the I Ching did not appear until the emergence of the Hirata school a few decades later.
.....
Jiun strove to return to original Buddhism by studying Buddhist sutras in Sanskrit. For his Buddhist views, see Paul B. Watt, "Jiun Sonja (1718-1804): A Response Confucianism within the Context of Buddhist Reform," in Nosco, Confucianism and Tokugawa Culture, pp. 188-214.

The I Ching in the Shinto Thought of Tokugawa Japan
By Wai-ming Ng
- source : University of Hawaii Press -

The Complete Works of the Venerable Jiun (Jiun Sonja zenshū).

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- quote -
Unden Shintō
A branch of Shinto founded by the Edo-period Shingon monk Jiun Onkō (1718-1804).
As Jiun lived on Mt. Katsuragi, it is also called Katsuragi Shintō. Jiun's learning extended not only to esoteric Buddhism, siddham (Sanskrit philology), and Zen, but also to Confucianism and Shinto. In particular, he revived the monastic precepts through his promulgation of what he called the Precepts of the True Dharma (shōbōritsu). He also composed the Bongaku shinryō in one thousand fascicles, and made a great compilation covering the history of siddham studies; he was one of the outstanding scholars of his era. In response to the criticisms of Buddhism leveled by the Confucianists and Shintoists of his time, he attempted a reconstruction of the ancient Ryōbu Shintō. Some of his works relating to Shinto include Shin-Ju gudan (A Conversation Between Shintō and Confucianism), Shintō yōgo (Important Terms in Shintō), Shintō kokuga (Songs of the Shintō Realm), Shinchoku kuden (Oral Transmissions on the Oracles of the Gods), Ten no mikage (The Beneficence of Heaven).
Jiun held that no distinction existed between Shinto and esoteric Buddhism, and that it would be impossible to learn the essence of Shinto without also understanding esoteric Buddhism. Further, he was considered noteworthy for locating the basic meaning of Shinto in the relationship between lord and retainer while criticizing the Confucianists' emphasis on the marriage relationship or the relationship between friends; he is also known for arguing that Japan was a "divine land" (shinkoku) in which there was no need for the appearance of Confucian sages.
In these ways, Jiun diverged from the previous position that regarded Buddhism as principal and Shinto as subsidiary, taking a stance closer to Revivalist Shinto (Fukko Shintō) nationalism. Jiun's writings relating to Shinto are now collected in Volume 10 of The Complete Works of the Venerable Jiun (Jiun Sonja zenshū).
- source : Ito Satoshi - kokugakuin 2006 -

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- quote -
慈雲尊者とは

１．慈雲尊者
２．正法律思想
３．尊者の袈裟
４．尊者の著作
５．尊者の容貌
６．生誕三百年記念奉賛会について
- reference : horakuji.hello-net.info/jiun -

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perseverance

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buji kore kinin - inactivity

- - CLICK for more of his paintings ! -

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- reference : Jiun Onko -

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. Legends and Tales from Japan　伝説 - Introduction .

There are various temples named 慈雲寺 Jiun-Ji, some come with legends.

.................................................................................　Miyagi 宮城県

Temple 山王慈雲寺
もと近くの一里塚にあり、天保の飢饉に「泣くな騒ぐな秋まで待てよ、百に三升の米かせる」という歌を詠んで世直しを予言。子供の夜泣をとめる信仰があり、願をかけるときはつなぎ藁でしばり、願ほどきには赤い頭巾か腹かけを奉納する。

出羽寒河江の慈雲寺の覚明阿闍梨が京都の仏師安阿弥快慶に頼んで笈分如来を作ってもらった。その笈分如来の夢の告げにより、泉ヶ岳のふもと、金畑に菩提樹を植えた。のち、南の川崎に移るが、ここにも植えつぎの同じ木がある。

.................................................................................　Ibaragi 茨城県

下土師では、道祖神に追いかけられた弁天様が、慈雲寺境内の弁天池に祀られている。

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- reference : nichibun yokai database -

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

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. shinbutsu in Edo 江戸の神仏 Kami and Hotoke in Edo .
shinbutsu shūgō 神仏習合 - Syncretism of Shinto and Buddhism
shinbutsu bunri 神仏分離 - Separation of Shinto and Buddhism.

. Persons and People of Edo - Personen .

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. Edo bakufu 江戸幕府 The Edo Government .

. Famous Places and Powerspots of Edo　江戸の名所 .

. Doing Business in Edo - 商売　- Introduction .

. Japanese Architecture - Interior Design - The Japanese Home .

. Legends and Tales from Japan　伝説 - Introduction .

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]- - - - - #jiun #priestjiun - - - -
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Posted By Gabi Greve to Edo - the EDOPEDIA - on 7/08/2016 01:04:00 pm

6 Jun 2016

EDO - jingi greeting

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. Persons and People of Edo - Personen .
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jingi o kiru 仁義を切る Yakuza greeting

When entering the home of a gang boss, the visitor had to stand in the entrance, bend his knees, left hand stretched out, palm up and the right hand at the hip.
He then introduces himself in a formal way, asking for a lodging or long-time stay.

- source : wiki - Kreislauf_des_Geldes -
This is the pose, but the statue is in Aachen, Germany.
(The figure symbolizing 'Bettelei' (Begging) in a group around a pond, Kreislauf des Geldes / Circulation of Money - by Karl Henning Seemann)
source :　vanderkrogt.net/statues
I must say, I have never seen a German (or European) beggar in this pose before . . . ?!

yakuza introduction, presenting bona fides
to make a formal salutation (between gamblers)
to observe thieves' niceties,
to inform the other party of a (negative) business development (ironical)
to make a formal introduction of oneself
to pay one's respects

kyookaku 侠客 Kyokaku, "chivalrous Yakuza person"
professional gambler in the Edo period

The Kyokaku were usually tall and strong persons, who could easily win a fight.
They also had the mental strength to lead others in their trade.

jingi means "humanity benevolence justice righteousness," "one's duty (to society" . . .

There are many translations and interpretations of this greeting.
- reference : "jingi wo kiru" -

. yakuza, the Japanese mob　 .
Eta and Burakumin

source : 課題ブログ

o hikae nasute おひかえなすって

一身上の都合で旅人（たびにん。旅から旅に渡り歩く者）となった者も、手拭い1本あればその土地土地の親分を訪ね、一宿一飯の恩を蒙り、草鞋銭（わらじせん）を得て旅行することができたという。ただし、一言でも言い間違えたり、所作に間違いがあった場合は「騙り」とみなされ、袋叩きになって追い出され、殺されても不思議ではなかった。
- - - More in the WIKIPEDIA !

- quote -
The Jingi -- or Yakuza's Code of Ethics --
is a written code of conduct or behavior that by the law of the Yakuza has been followed for the past several hundred years. Depending on the Oyabun-- Father figure (Chariman)-- one could be removed from a syndicate or clan by simply disregarding one of these rules. Some occurance, however, are dealt with in a forgiving manner. The afforementioned is not a general occurance, and will most likely not happen with you. It is up to one's own personal conviction to either follow, or disregard the Yakuza Code, but those who disrespect the code are scum, and are not considered Yakuza who honorably live by this code.
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4.) The Yakuza Code of Ethics prohibits anything that may be considered an indecent act,
or an act that goes against Ninkyodo (Chivalry).
Reasoning -
The Yakuza were known as the chivalrous organization of their community. The whole purpose of the Yakuza was to serve their own form of justice. Acts such as rape or kidnapping were not tolerated. If these acts were carried out against family members of the Yakuza (daughters, girlfriends, wives, sons, etc.), those who took offense from the action would deal with such in a quite grizzly matter. The Yakuza were firm believers in the rule, "A Life for A Life".
Example: If a man were to rape the daughter of a Yakuza, that man would be taking her innocence, and in turn her future. Because of this, the Yakuza who had been offended would take the life of the offender, thus taking their future from them as recompense. Another example of going against chivalry is treachery.
Treachery is something that could not be tolrated in the days of the Yakuza. This was usually punishable by the severing of the offender's pinky, and their immediate expulsion from the clan or syndicate as an act to show off that the Yakuza is a traitor and should not be part of another family so long as he lives... Depending on the Oyabun-- or father figure (Chairman)-- this could be an activity punishable by death. .....
- source : yakuza-mob-roleplay.wikia.com -

source : chiebukuro.yahoo.co.jp/qa

. oyabun 親分 boss - kobun 子分 gang member .
- Introduction -

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ーーー　The four most famous Kyokaku "noble yakuza" outlaws of the Edo period :

. Banzuiin Chōbei 幡随院長兵衛 Banzuin Chobei . (1622–1657)
Asakusa, Edo - kyookaku no ganso 侠客の元祖 The first Kyokaku "chivalrous person"

. Kunisada Chuuji 国定忠治 Kunisada Chuji . (1810-1851)
Gunma, Shinshu
There is even a 忠治地蔵 Chuji Jizo Statue in his honor.

. Shimizu no Jirocho 清水次郎長 . (1820-1893)
Shimizu port, Shizuoka

侠客の世界──江戸から昭和まで Kyokaku no sekai - Edo kara Showa made
(The world of Kyokaku, from Edo to Showa)
村松梢風
江戸時代から昭和の始めにかけて、侠客は賭博（娯楽）をはじめとして、貸元・札差（金融・運送）、人入（人材派遣）、台屋（仕出し）、用心棒（警備）、火消（消防）、鳶職（建設）、米相場、芸能といった世界を仕切っていただけでなく、大物政治家たちの集会の手配、外国要人の警備もおこなっていた。
また、幕末繰り広げられた数々の戦いで官軍として戦った者の多くは侠客であった。侠客は日本の歴史の裏舞台であらゆる分野にわたって活躍していたといえる。本書は、幡随院長兵衛をはじめとして、かつて歌舞伎や浪花節、映画の主役として登場し、江戸から昭和まで庶民の人気を集めていた侠客について、様々な角度からその歴史、実態、伝説を紹介する。
- reference : kokusho.co.jp/np/isbn-

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Shinmon Tatsugoro 新門辰五郎
(?1792 / ?1800 - 1875)

CLICK for more photos !

He lived in the late Edo period and the Bakumatsu times. He was leader of the fire brigade and 鳶頭、香具師、侠客、浅草浅草寺門番 warden of Asakusa Temple district.
The name "Shinmon" - new gate" refers to his job in Asakusa as warden of the New Gate.
金龍山浅草寺僧坊伝法院新門の門番

Shinmon lantern of the fire brigades is the second on the left.

He was also accepted by the 15th Shogun, 徳川慶喜 Tokugawa Yoshinobu, who called on him and his gang to come to Kyoto and become 二条城の警備 guardsmen at the Nijo Castle. Yoshinobu forgot his 金扇馬標 golden fan of the Tokugawa clan when fleeing from the castle, but Tatsugoro got it back to him.

source : Toshogu Museum Kunosan

Tatsugoro later became guardsman at 上野寛永寺 the Kanei-Ji temple in Ueno, where Yoshinobu took residence.

His last poem before his death
思ひおくまぐろの刺身鰒汁（ふぐとしる）ふっくりぼぼにどぶろくの味

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平成新講談新門辰五郎―十番組纏づくし

新門辰五郎伝 - 早乙女貢

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- quote -
Tokugawa Yoshinobu 徳川慶喜 (1873 - 1913)
the 15th and last shogun of the Tokugawa shogunate of Japan. He was part of a movement which aimed to reform the aging shogunate, but was ultimately unsuccessful. After resigning in late 1867, he went into retirement, and largely avoided the public eye for the rest of his life.
Tokugawa Yoshinobu was born in Edo, as the seventh son of Tokugawa Nariaki, daimyo of Mito. .....
1866 After the death of Tokugawa Iemochi in 1866, Yoshinobu was chosen to succeed him, and became the 15th shogun.
Boshin War (1868–69)
- - - More in the WIKIPEDIA !

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- - - - - H A I K U and S E N R Y U - - - - -

川鯉の三尺三寸は侠客ぞ
kawagoi no sanjaku sanzun wa kyookaku zo

this river carp
of more than one meter
is a real chivalrous Yakuza . . .
Tr. Gabi Greve

奥山甲子男　Okuyama Kineo (1929 - 1998)

one shaku 一尺 ca. 30 cm // one sun 一寸 ca. 3 cm

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侠客の鮎にしらじら谿明くる
高澤良一

侠客の駈け抜けし径露どつと
吉田銀葉

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EDO - dokufu poisonous woman

近世悪女奇聞 / 綿谷雪
雷お新、高橋お伝、夜嵐お絹など毒婦一七人 The life of seven Dokufu

- quote
"Poison Women" and Early Meiji Writing
The notion of "poison women," or dokufu, was a prevalent topic among common readers during the early Meiji period. While the term itself comes from mid- to late-Edo period dramatic writing particularly the Kabuki theater in this context it refers to a group of women convicted in the first decades of Meiji of vicious crimes ranging from fraud and extortion to murder.
Names such as 夜嵐お絹 Yoarashi O-Kinu, 原田お絹 Harada O-Kinu, 高橋お伝　Takahashi O-Den,
鳥追お松　"Torioi" O-Matsu, and 花井お梅.Hanai O-Ume came to be widely known and associated with women of low birth whose chief characteristics were their unbridled sexuality, violent tempers, and greed.
But the notoriety of the "poison women" was tempered by the fascination in which they were held by the public at large. This fascination was enhanced by a series of sensational stories that appeared in the popular press of the time. These stories were a mixture of factual reportage and fictional embellishment, and most (but not all) portrayed their criminal heroines in a negative light. At the same time, their depiction of the "poison women" as sexually promiscuous enhanced the attraction such women held for their male readershipin particular, making these stories instant bestsellers once they were converted to book form.
This panel will examine several critical aspects of the early Meiji female criminals and the stories told about them. Marie Söderberg discusses aspects of the early Meiji newspaper industry, and provides a general overview of the medium in which these stories were presented. Ulla Frisk examines the historical basis of the "poison women," delineating, where possible, fact from fiction. Eiko Norlander looks at the aesthetic, literary angle of the stories, particularly their structural similarity to Kabuki. Matthew Strecher wraps things up with a discussion of structure and genre, discussing the "poison woman" stories as hybrid fact/fiction, an early form of literary journalism, and an important forerunner to the serialized newspaper novel.

1) "A Comparison of Japanese and Swedish Newspapers at the End of the 19th Century"
2) "Poison Women, Tsuzukimono, and the Development of the Meiji Newspaper Novel"
3) "On the Strolling Shamisen Player Omatsu's Adventures Kabuki Plays and the Novel"
4) "The Female Character in dokufu Novels in the Early Meiji Period"
- - - - - ASIAN STUDIES CONFERENCE JAPAN
- source : meijigakuin.ac.jp 2003

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Hanai O-Ume 花井お梅

source : ukiyoe-gallery.com
Hanai Oume Killing Kamekichi

- quote -
On a rainy summer night in 1887 a murder took place in one of Tokyo's entertainment districts. A geisha known as Hanai Oume stabbed her lover to death. Oume's open trial—shortly before the courts were opened to the general public for the first time—attracted widespread interest and caused a sensation.
This article focuses on the courtroom as a place of encounter between the law and the public. The public trials of the Meiji period are a good starting-point for describing the implementation of Western law in Japan. It thereby addresses the problem of the globalization of legal cultures in the 19th century, a topic which has been largely ignored in global history.
- Globalization of legal cultures in the 19th century. Criminal trials, gender, and the public in Meiji Japan
- source : Daniel Hedinger -

- reference -

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Harada O-Kinu 原田お絹 / Yoarashi O-Kinu 夜嵐お絹

source : ameblo.jp/naomireturn/entry

- quote -
Yoarashi Okinu 夜嵐おきぬ, ca.1845 - March 28, 1872)
is the moniker of Harada Kinu (原田きぬ), who was a Japanese female poisoner and geisha and lived from the end of the Edo era to the beginning of the Meiji era. Her nickname Yoarashi means night-storm in Japanese.
..... As she was beautiful, people in the Edo longed for her. She became a mistress of Ōkubo Tadayori (大久保忠順) in the capital Edo. He was the daimyo of the Karasuyama Domain in Shimotsuke Province, which was rated at thirty thousand koku. Ōkubo had a son, the successor to the Ōkubo family, by her. However, he hated her, and abandoned her in the Meiji Restoration.
She became a mistress of Kobayashi Kinpei .....
- - - More in the WIKIPEDIA !

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O-Miyo no Kata　お美代の方　Senkoin 専行院　
（1797 - 1872)
Concubine (sokushitsu) of 11th Shogun Tokugawa Ienari (1773 - 1841)
a maid-turned-adopted-daughter of a hatamoto

江戸幕府11代将軍徳川家斉の側室
- - - More in the WIKIPEDIA !

- quote -
Kagero Ezu - Film

..... To continue enjoying wealth and power even after he passes away, Ienari's concubine Omiyo no Kata (Nakamura Yuko), who has been in his favour for a long time despite his legal wife Tadako (Shiraishi Kayoko), desires to have her own grandson Maeda Inuchiyo installed as the next shogun. Making use of his right-hand man Mizuno Minonokami (Kinoshita Houka) and others, Omiyo no Kata's backer Nakano Sekio (Kunimura Jun) wheels and deals for the purpose of making Ienari write the directive that will determine the next shogun. .....
- source : jdramas.wordpress.com -

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Shirakoya O-Kuma 白子屋お熊
(1703 - 1727)

She used to wear Kimono of the striped red and yellow 黄八丈　Kihachijo pattern.
- source : kimono.or.jp -

..... her crime made her the heroine of ningyō jōruri puppet plays.
- - - More in the WIKIPEDIA !

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Takahashi O-Den 高橋お伝

- quote -
Takahashi Oden (1848 – January 31, 1879)
was a female Japanese murderer known for killing a man, and being the last woman in Japan to be put to death by beheading.
She was also suspected of poisoning her husband.
The movie Dokufu Oden Takahashi is based on her life. Director Shōgorō Nishimura's Roman porno film Crimson Night Dream (紅夜夢 Koyamu) (1983) also depicts Takahashi.
- source : wikipedia -

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Torioi O-Matsu 鳥追お松

By Utagawa Kunisada III 歌川国貞三代

Her exact dates are not known, but she lived in Tokyo in the Meiji period. She was famous for her beauty.

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. Yaoya o-Shichi 八百屋お七 . 　
（1668 - 1683)

月岡芳年 Tsukioka Yoshitoshi （八百屋お七）
- - - More in the WIKIPEDIA !

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- - - - - H A I K U and S E N R Y U - - - - -

ひそみ立つ毒婦の墓や花山椒
hisomi tatsu dokufu no haka ya hana sanshoo

the lonely grave
of the poisonous woman -
mountain pepper blossoms
Tr. Gabi Greve

槫沼けい一 Kurenuma Kei-Ichi

. WKD : hana sanshoo 花山椒 flowers of mountain pepper .
- - kigo for late spring - -

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鬼灯や毒婦お伝の泣くような
hoozuki ya dokufu o-den no naku yoo na

these lampion flowers -
as if the poisonous woman O-Den
was crying

仁平勝 Nihira Masaru (1949 - )

. WKD : hoozuki 鬼燈－鬼灯 Chinese lantern plant .
- - kigo for autumn - -

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. Edo bakufu 江戸幕府 The Edo Government .

. Famous Places and Powerspots of Edo　江戸の名所 .

. Doing Business in Edo - 商売　- Introduction .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. senryu, senryū 川柳　Senryu poems in Edo .

. Japanese Architecture - Interior Design - The Japanese Home .

. Legends and Tales from Japan　伝説 - Introduction .

[ . BACK to DARUMA　MUSEUM　TOP . ]
[ . BACK to WORLDKIGO . TOP . ]- - - - - #dokufu #poisonouswoman - - - -
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Posted By Gabi Greve to Edo - the EDOPEDIA - on 6/02/2016 02:47:00 pm

28 May 2016

MINGEI - Tsujigahana dyeing Kubota Itchiku

[ . BACK to DARUMA　MUSEUM　TOP . ]
. Legends and Tales from Japan　伝説 - Introduction .
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tsujigahana, tsuji ga hana 辻が花 "flowers at the crossroads" dyeing method

CLICK for more beautiful samples !

. WKD - katabira, tsujigahana and more Summer robes .
- Introduction -

quote
It's not necessarily appropriate to define what "TSUJIGAHANA" is because there are few remaining data and existing kosode (short-sleeved kimono), but tsuji-ga-hana may be defined as "what is used on the premise of tie-dyeing with drawing pictures, impressing foil, and embroidering".

Tie-dyeing, which forms the basis of tsujigahana, has been traditional way of dyeing from Nara Period in Japan. There are various ways from those of basic and easy such as tying and bundling to those of difficult such as sawing outline of design and tying, and dyeing in different colors. The latter one is called "koukechi", which is the way that prevents dye stuff from penetrating a textile.

In concrete terms, advanced techniques, such as complicated sawing, tying and tightening, and take-kawa-shibori (tying with a bamboo leaf), are used. In the case of making dappled cloth, which has tiny pattern, we only need to tie textiles with a thread, but when to make big design, the techniques of maki-age-shibori (coiling up tying) and take-kawa-shibori are used. When we dye textiles in different colors, the technique of oke-shibori (tying with tub) is used.

Maki-age-shibori is the way that protect against dyeing by coiling up a part. Take-kawa-shibori is the way that protect against dyeing by covering a part with a bamboo leaf. Bamboo leaves are now replaced by easy-to-use plastic. Oke-shibori is the way that protect against dyeing by putting a part in a tub.

The name "tsuji-ga-hana" first emerged on a literature in the late 15th century. A literature says in 1596, Toyotomi Hideyoshi presented tsujigahana to an emissary from Ming as his/her farewell present. Tsuji-ga-hana, which range from simple tie-dyeing to impressing foil and embroidered gorgeous one, became fashionable in the public after a century from its birth. Simultaneously, the name "tsujigahana" seemed to have become popular as we associate kimono with "Yuzen".

As we see in kosode of katsurame (woman merchant), battle surcoat, remaining kimono in Tokugawa, and so on, the height was about from the Momoyama period to the Edo period. By improvement of Yuzen dyeing, tsuji-ga-hana lost its significance of existence and died out in course of time.

Recent years, though "tsujigahana" has been becoming public knowledge by receiving media exposure, it seems that tsuji-ga-hana is merely one of the designs; however, "tsujigahana" is consistently "tie-dyeing".
Tsujigahana is the technique which maximizes essential beauty of tie-dyeing by drawing pictures and impressing foil.
source : tsujigahana.com

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- quote -
Tsujigahana (辻ヶ花) is a Japanese fabric dyeing technique that originated in the Muromachi era.
Tsujigahana is a variety of Kimono created by the technique of Shibori. The extravagant patterns were rather more picturesque and it was more eye-catching than other ordinary kinds of Kimono. Tsujigahana technique is in a shroud of mystery as it is not clearly known who invented it or why it was called Tsujigahana. The technique lasted for two era from Muromachi period to Edo period for about 300 to 400 years.

It quickly became forgotten after the rise of Japanese handicrafts technique. But Tsujigahana nevertheless contributed a lot for the decorative art phase in Azuchi-Momoyama period.
The art was revived by Itchiku Kubota (1918-2003). He was succeed by his son, Satoshi Kubota. Itchiku founded the Itchiku Kubota Art Museum. His collection of eighty kimono, known as the Symphony of Light, displaying the Four Seasons (including Oceans) and The Universe is a work in progress, passed from father to son.
- source : wikipedia -

CLICK for a great selection of his artwork !

- quote -
Itchiku Kubota (久保田　一竹 Kubota Itchiku) (1917-2003)
was a Japanese textile artist. He was most famous for reviving and modernizing a lost late-15th- to early-16th-century textile-dyeing and decorating technique called tsujigahana (literally, flowers at the crossroads).

Kubota left school at age 14 to become the apprentice of Kobayashi Kiyoshi, a Tokyo kimono artist who specialized in hand-painted yuzen (a paste-resist-dyeing technique). Kubota also studied other techniques for decorating fabrics, as well as Japanese-style landscape painting and portraiture. At the age of 20, he first saw a fragment of a textile in the tsujigahana style at the Tokyo National Museum, and decided to devote his life to recreating it. Because no instructions survive that explain how to reproduce the complex decorative techniques seen in tsujigahana, and because the silk fabric necessary for its successful production (nerinuki) is no longer woven, Kubota was forced to experiment on his own for decades.

In 1962, Kubota decided that there were too many technical problems surrounding his mission to recreate traditional tsujigahana. He would instead develop his own form of tsujigahana, called "Itchiku Tsujigahana," substituting a contemporary silk crepe fabric (chirimen) for nerinuki and synthetic dyes for natural colors. In 1977, when Kubota was 60 years old, he displayed his decorated kimono for the first time in an exhibition in Tokyo.

Kubota's grand scheme was a series of kimonos, called Symphony of Light, that would depict the "grandeur of the universe". An exhibit presenting part of the "grandeur of the universe" Kubota Itchi was shown in the Smithsonian Museum in Washington D.C. for 6 months in 1995 - the first time the Smithsonian presented an exhibit of a living artist. At the time of his death, he had completed 40 of his projected 80 kimono in the series. Kubota's unique vision for this series involved a decorative landscape design that flowed from kimono to kimono, resulting in a panorama of seasons and views.
Kubota's son and daughter continue their father's work at the artist's studio, Itchiku Kobo, in Tokyo.
- source : wikipedia -

- HP of the Museum
- source : itchiku-museum.com -

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. Kobayashi Issa 小林一茶 - Introduction .

みやこ哉東西南北辻が花
miyako kana toozai nanboku tsujigahana

in Kyoto
east, west, south, north . . .
summer kimonos

This haiku has the prescript, "Imperial Capital," i.e., Kyoto. In Issa's day, this is where the emperor and his court lived. Political and military power was centered in the Shogun's city of Edo, today's Tokyo.

The phrase, "crossroads blossoms" (tsuji ga hana), is a euphemism for a light summer garment made of hemp: katabira. In this archive, I translate both katabira and awase as "summer kimono." Hiroshi Kobori explains that tsujiga-hana designs were in fashion from the mid-Muromachi era until the early Edo era; they were mostly dyed purple, red, and deep indigo ..." bold and marvelous."

Makoto Ueda writes that the "blossoms" (hana) refer to the colorful kimonos worn by the people of Kyoto; Dew on the Grass: The Life and Poetry of Kobayashi Issa (Leiden/Boston: Brill, 2004) 28. Since kimono is a more widely known term than katabira, I use it in my translation, following professor Ueda's example.

Tr. and comment by David Lanoue
- source : Issa on Kyoto -

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提灯の火影にさきぬ辻が花
choochin no hikage ni sakinu tsujigahana

Tsujigahana
blossoms in the flickering light
of a lantern

白百合をさげて行きけり辻が花
sayuri o sagete ikikeri tsujigahana

. Masaoka Shiki 正岡子規 .

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初枕齢得て辻が花召して
依田明倫

女にて見まほしき子よ辻が花
松瀬青々

衣擦れの淑気やまして辻が花
鈴木鷹夫

辻が花纏はば婆娑羅冬立つ日
瀧澤和治

香水のかすかに母の辻が花
なかのまさこ

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. . . CLICK here for Photos !

. Reference - tsujigahana.

Opulence: The Kimonos and Robes of Itchiku Kubota
by Itchiku Kubota (Author), Emma Farber (Translator)

- - - #tsujigahana #kubotaitchiku - - - - -
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. Join the MINGEI group on facebook ! .

. Regional Folk Toys from Japan .

. Japan - Shrines and Temples .

. Tohoku after the BIG earthquake March 11, 2011

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Posted By Gabi Greve to Omamori - Japanese Amulets on 5/24/2016 01:32:00 pm

PERSON - Kato Gosuke yakimono

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

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

Mino ceramic artist from Gifu.

Mino ware, Japan made 1875

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

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- - - - - His artwork at

- source : google search

- source : yahoo search

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

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

- source : Thanks to Aoi and Hayato on facebook -

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

. Gifu Folk Art - 岐阜県　 .

. Introducing Japanese Haiku Poets .

- - - #katogosuke #gosukekato - - -
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