1/15/2008

Garlic chives (nira)

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- - - - - for Egawa Tarozaemon, see below
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Garlic chives, Chinese chives (nira)

***** Location: Japan
***** Season: Various, see below
***** Category: Plant


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Explanation


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chives, nira 韮 (にら), kamira かみら (加美良)、
mira みら (弥良)、"two letters" futamoji ふたもじ
Allium tuberosum, Garlic chives
kigo for mid-spring

often translated as LEEK, but that is a different plant.
In the Japanese saijiki, Garlic comes next after nira chives.


Allium tuberosum LINKS


The Japanese name of "futamoji" goes way back to the Heian period. The aristocracy wrote the name of the leek 葱 like this “ギ”(one letter). The more complex character for the chives, 韮 was then called "two letters".


KAMIRA 加美良(かみら) dates back to the historical chronicles of the Kojiki.
KUKUMIRA 久々美良(くくみら) is an old reading of the poetry collection Manyo-Shu.
The M from the older reading of MIRA later changed to an N.


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flowers of the chives, nira no hana
韮の花 (にらのはな)

ninniku no hana 蒜の花 (にんにくのはな) garlic flowers
kigo for late summer

nobiru no hana 野蒜の花 (のびるのはな) Nobiru flowers
kigo for early summer


There is also a kind of yellow garlic chives, 黄ニラ.
This is a speciality of Okayama prefecture.
. . . CLICK here for Photos !

Yellow garlic chives for the Momotaro pot Okayama


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CLICK for original LINK ... himakichi sanpo
不許葷酒入山門

くんしゅさんもんはいるべからず
kunshuu sanmon hairu bekarazu
葷酒山門に入るを許さず
kunshuu sanmon ni iru o yurusazu

Garlic chives and liquor are not allowed
into the monastery.

 KUN refers to garlic chives and garlic.

These words are engraved in stone beside the entrance of a Buddhist monastery. This stone is also called kekkai seki 結界石(けっかいせき) "stone that separates the normal world from the Buddhist world".
Some temples called the hot ricewine
"hot water of wisdom" hannyatoo 「般若湯(はんにゃとう)」
or "water of wisdom" chie no mizu 「智慧の水」.


葷酒山門にいるを許さず紅葉哉
kunshu sanmon ni iru o yurusazu momiji kana

no garlic and wine
beyond the temple gate ...
red autumn leaves

Terada Torahiko 寺田寅彦 (November 28, 1878 - December 31, 1935)
source : jofuan/myhaiku


Daruma Museum
More about 葷酒山門 kunshu sanmon

Temple Gate, no garlic or liquor beyond this point!


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Nira chives are a favorite ingredient in Chinese food. Here in Japan, it comes in miso soup, on scrambled eggs or in gyosa dumplings and many other preparations.

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japanesefood.about.com: Nira (chives)


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Worldwide use


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Things found on the way


"Chives Mountain", Nirayama 韮山, is a town in Izu peninsula.

During the Edo period, the famous reformer Egawa Tarozaemon
江川太郎左衛門 (1801-1855) lived here.

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A scholar of warfare and a civil administrator. As his family members had been for generations, Tarozaemon was the successive governor of Izunokuni Nirayama. Tarozaemon was familiar with the conditions of the people from the time he was appointed governor of Izunokuni Nirayama. He was an honest worker who listened to the views of the agricultural policy administrator and thinker, Sontoku Ninomiya, and was called “Edo’s God of Social Reform.”

After becoming conscious of naval defenses, he learned artillery from Kazan Watanabe and Western artillery from Shuhan Takashima and served as a professor of artillery. Tarozaemon got on the wrong side of Yozo Torii, the Edo Magistrate who disliked Western studies, and nearly fell from power in the bribery case of Bansha, but he was rescued by Tadakuni Mizuno, was later promoted by the top leaders of the shogunate government, and built six gun batteries. He devoted himself throughout his life to naval defense, building foundries and air furnaces in Nirayama and producing canons and guns. He is also known as Hidetatsu Egawa.

Torazaemon baked hardtack as ready-to-eat food for soldiers following the method taught by a student of Shuhan Takashima, and the Japan Bread Association called him the “Father of Bread” of Japan.
© 2006 MINATO CITY. Tarozaemon Egawa

pan no hi パンの日 day of bread - April 12
When the first bread was baked in the home of Egawa family 太郎左衛門 near Nirayama, Izu 韮山, in 1840.
It was very hard and durable, as food provisions for the soldiers, and called
hyooroo pan 兵糧パン.
It was baked in oil in a huge iron pan in the main kitchen of the large Egawa estate. The Egawa family is now in the 42th generation.
The Chinese Opium War has just started and Japan was afraid foreighn soldiers might come to Japan too. So the nation prepared for war.
The Egawa family also build small cannons to defend their harbour in Izu.
More in the WIKIPEDIA !



His soldiers used a special kind of light helmet called the "Nirayama Helmets, nirayama gasa 韮山笠".

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They were like circles, folded in half, made from leather or twisted paper strings (koyori 紙縒り). The paper was then covered with laquer or sometimes light leather. Some troups of the Bakufu government, especially soldiers from Aizu, Nagaoka and Shonai, used these helmets.
They were not produced in large numbers and not many remain to our day.



 © PHOTO : www.wbr.co.jp


Japanese Reference
韮山笠でっす


Egawachoo 江川町 Egawa Cho District
Chiyoda ward, Higashi Kanda 東神田一丁目
This district was founded in 1706 and is rather small. It was named after Egawa Tarozaemon, who lived here.
The Egawa clan came from Nirayama, Izu.

. Place names of Edo .


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- quote
Ninomiya Sontoku 二宮尊徳
(September 4, 1787 – November 17, 1856), born Ninomiya Kinjirō (二宮 金次郎) Kinjiro, was a prominent 19th-century Japanese agricultural leader, philosopher, moralist and economist.
. . . Though he did not leave written philosophical work, his idea were later transcribed by his disciples, namely Tomita Takayoshi, Fukuzumi Masae and Saitō Takayuki. Ninomiya combined three strands of traditional teachings Buddhism, Shintōism and Confucianism and transformed them into practical ethical principles which matured out of his experiences. He saw agriculture as the highest form of humanity because it was the cultivation of resources given by the Kami.

Ninomiya Sontoku emphasized the importance of compound interest which was not well understood among samurai and peasants. He calculated the maturity of each interest rate for 100 years to show its significance by using the Japanese abacus or soroban. In terms of agriculture, he viewed agricultural village life as communal, where surpluses from one year were invested to develop further land or saved for worse years, and shared by members of the community. He was aware that developed land had a lower tax base than established agricultural land and he was adept at financial management which he applied to his estate. He also encouraged immigrants from other estates and rewarded them if they successfully established an agricultural household.
He started his own financial institutions called gojoukou  - gojookoo (五常講 ごじょうこう), which appear to be a forerunner of credit union. Each member of the village union could borrow funds interest free for 100 days, while the entire membership shared the cost in case of default. Combination of land development, immigration and communal finance all managed under diligent utilisation of abacus was a success and became the standard methodology of economic development in feudal Japan.



It is not uncommon to see statues of Ninomiya in or in front of Japanese schools, especially elementary schools. Typically these statues show him as a boy reading a book while walking and carrying firewood on his back. These statues are depicting popular stories that said Ninomiya was reading and studying during every moment he could.
© More in the WIKIPEDIA !

- His statue at temple
. Buppoo-Ji 仏法寺Buppo-Ji .
Mimasaka, Okayama 美作市川北




source : www.naritasan.or.jp

He practised danjiki shugyoo 断食修行 fasting at temple Narita san in Chiba for 21 days and then went on to help the farmers in need.

- quote
Ninomiya s plans had been fairly successful, but
the work was very slow. Feeling somewhat
discouraged, he decided to appeal to Heaven for
help. Some hold that Ninomiya was sincere in
this action, and that he really felt his dependence
upon some power higher than himself ; others held
that his action was purely spectacular, that he
wished to win the people by an appeal to their
religious and superstitious nature. But whatever
his motive may have been, he went to the Buddhist
temple at Narita to pray for the success of his work.
He secured lodging at the inn, and was daily in
the attitude of worship before the god, fasting and
bathing in cold water. He made several short
prayers, and some definite vows before the god.

He prayed that calamity, including death, disease,
accident, and debt, might be replaced by blessing,
prosperity, and happiness. He prayed that
deserted wastes and barren soil might give
place to well-cultivated plains and rich,
productive farm lands; that poverty, tribulation, and
hardness might be replaced by wealth and joy, and
by all that was for the good of the people. He
vowed that he would renounce everything that was
detrimental to human development, and that he
would endeavor to give them everything that would
tend to make their lives truly blessed.
He continued thus for twenty-one days. The priest
afterward said that he admired Ninomiya s un
selfish spirit. Instead of praying for his own selfish
benefit, as others did, he prayed for the people.

Ninomiya had gone to Narita 1 secretly. Not
even the officials knew his whereabouts. They
became alarmed at his continued absence, and sent
a messenger in search of him. The first clew they
received was from a messenger of the hotel where
Ninomiya was lodging. It seemed that for some
reason, after Ninomiya had paid a sum of money
in advance, on his lodging account, the landlord
became very suspicious of him.
He was not reassured
even when told that Ninomiya was a
samurai of the Odawara clan, but, pleading that
his house was overcrowded, tried to send him away.

Ninomiya was indignant, and thundered out: "Why
did you not refuse me when I first entered your
hotel ? Has your house suddenly become full ?
I have come here to worship at this temple for the
good of others. What reason have you to be
suspicious of me? Let your suspicions cease."
The landlord, frightened, became very humble, and
apologized for his conduct. However, he secretly
sent a messenger to Odawara to inquire about this
strange man, who had come to pray for others.

The Odawara men did not know why he had gone
to Narita, but they assured the messenger that he
was one of their trusted clansmen. After this he
was the guest of honor in the little hotel. As
soon as the people of Sakuramachi knew where
Ninomiya had gone, they gathered together for
consultation. They were alarmed lest he in
tended to desert them, so they decided to send
a messenger, urging his return, promising to obey
his every word, and to be more diligent in future
than they had been in the past. The messenger
arrived on the last day of the fast, and as soon
as Ninomiya had heard their message, he ate a
bowl of rice, and set out for Sakuramachi, running
all the way. He arrived there that evening.

The people were surprised that, after such a long fast,
he was able to run fifty miles. They knew he had
been praying for them, and were so impressed by it
that they regarded him with the same awe and
reverence that they felt toward the gods.
Fromthat time Ninomiya s work prospered.

1 Even yet Narita shrine is popular. The God "Fudo Myo" was Ninomiya s favorite. It was a man standing unmoved in the midst of fire with a drawn sword in his right hand to cut out evil and a rope in his left hand to bind it up. The ancient soldier sometimes wore it on his armor as he went to battle. It represents that spirit in the Japanese people that enabled them to defeat the Russian armies every time. Psychologically this idol has had a great place in making Japanese people what they are, strong and courageous.

NINOMIYA AND YOUNG MEN
As Ninomiya s fame increased, he came to Yedo (Edo),
and took up his abode in the house of Utsu, in
Nishikubo. There he gathered disciples and taught
them daily. Naturally he had opponents who
were jealous of his power. They frequently pasted
threats over his gate, to the effect that if any
accepted his teaching their heads would be cut
off, or they would be banished to a far-distant
island, or their houses would be burned. His dis
ciples became very scarce. Some excused them
selves by saying they were busy, others who were
boarding in his house fled home, but he only be
came the more earnest, and his spirit waxed stronger
and stronger.
He hung a picture of "Fudo Myo" in his room,
and pointing to it, said to his disciples,
" Without such a spirit you are useless."

SINCERITY
He believed in being true in heart even under
most trying circumstances. Perhaps no one s lot
can be harder than that of the daughter-in-law,
who is married into her husband s ancestral home.
Speaking of this, he says :
" People like a luxurious and easy life,
and dislike hardship and trial. When
a young bride goes to her husband s home, in summer
she feels like a person sitting on the mats of a
burning house; in winter she feels as if she were
standing out in a cold field. But she is very happy
when she brings her husband to her father s home ;
in summer she feels like one in the refreshing cool
of an ice house ; in winter, like one who draws near
to a burning house. But in any case she must feel
that she has a divine call, and that she must obey
that call, and accept her adopted home as her true
home. She may have to endure suffering, but she
must not swerve from the path of duty, but remain
as firm as Fudo san
. If she has a true heart, she
will work with all her might, as the farmer works
in heat or cold, and as the samurai endures the
hardships of the battle-field."


HIS APPEAL TO RELIGION
WHEN Ninomiya attempted to improve the moral
condition of the people, he found that moral suasion
alone was powerless to accomplish his ends. Excellent
as his teaching was, he felt that Sakuramachi
was not responding to his efforts. This led him to
turn to religion. He suddenly left his work and
ceased teaching and spent nearly three weeks in
earnest fasting and prayer before the idol of Narita.
Here he received great inspiration. His prayer was
answered. The people rallied around him, and as a
result a complete change took place in the conditions
of the country around Sakuramachi. When famine
broke out a few years later, he was able to open up
his stores and not only feed the people of his
master s estate, but was able to help the neighboring
estate in which the people were suffering.

Ninomiya gives us a key to interpret idol worship
in Japan. He pointed to the god "Fudo Myo"
and said to his disciples, "Without such a spirit
you are useless." A Buddhist priest in a sermon
gave an illustration that gives us some light on the
nature of their idol. A band of soldiers was arrested
and thrown into prison by the Tokugawa government
in the stormy times immediately preceding
the revolution of 1868. They became very angry,
especially as they thought they were treated unjustly.

When the jailer was passing in food
through the little window of their cell, they seized
his hand and maltreated it. In their company was
one boy who was very quiet, dignified, and obedient.
It was noticed that every morning and evening he
took out two little dolls and, placing them before
him, reverently greeted them, saying,
"Good morning, Mother," "Good morning, Father."

At mealtime he again bowed before them and expressed
the gratitude he felt to his parents for the food he
ate. This was repeated so often that the others be
gan to respect him for his filial piety and connected
his constant good conduct with the influence of these
dolls, which were used to keep his parents ever
before his mind. Commenting on this incident,
the Buddhist preacher said, "We need dolls to
act as flying machines to enable our hearts to
soar to the place where dwells the true father of
us all, to the presence of the Buddha. We need
not trouble ourselves about the material used in
making these images. Half an inch of decayed
wood, a sheet of old paper, a lump of clay, a block of
metal, anything will do so long as it is a symbolical
representation and prevents our forgetful hearts
from becoming oblivious of the Tathagata.
Before these symbols we bow down, and in doing so our
hearts are lifted up in thought to the great heart of
the Tathagata."

- source : archive.org/stream


He thought of himself as Fudo Myo-O
金治郎は自身を不動明王と見ていた
When he sat in his mountain retreat, pondering some morning mist, he felt it was like the flames in the halo of Fudo Myo-O.
「俺も、不動明王だ」

. Fudō Myō-ō, Fudoo Myoo-Oo 不動明王 Fudo Myo-O
Acala Vidyârâja - Vidyaraja - Fudo Myoo .



- reference -

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HAIKU


久々の母子の会話韮の花
hisabisa no oyako no kaiwa nira no hana

I talk to my child
after quite a while ...
chive blossoms

Yamano Ibuki 山野いぶき
Tr. Gabi Greve

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chive flowers
purple blossoms top
pungent stalks


Robert Hunt, 2009
Happy Haiku Forum



. WASHOKU
More NIRA haiku



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Related words

***** Welch Onion Head (negi boozu)
and
Stone Leek (negi 葱), Welch Onion, Green Onion, Chinese Onion, Spring Onion

*** Ninniku ニンニク 大蒜 Garlic


WASHOKU : YASAI . Vegetable SAIJIKI



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1/10/2008

Swan (hakuchoo)

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Swan (hakuchoo)

***** Location: Japan
***** Season: Various, see below
***** Category: Animal


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Explanation

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kigo for late winter

white swan, hakuchoo 白鳥 (はくちょう)
suwan スワン
Cygnus cygnus
big white swan, oo hakuchoo 大白鳥(おおはくちょう) whooper swan
kugui 鵠(くぐい)

kohakuchoo (こはくちょう) 小白鳥 Bewick's swan
lit. "small swan"
Cygnus bewickii
whistling swan, tundra swan, C.columbianus

naki hakuchoo ナキハクチョウ trumpeter swan
C. buccinator


white swans are coming, hakuchoo kuru
白鳥来る(はくちょうくる)


"black bird", black swan, koku choo 黒鳥(こくちょう)

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kigo for mid-spring

white swans coming back, hakuchoo kaeru
白鳥帰る (はくちょうかえる)

remaining swans, nokoru hakuchoo 残る白鳥(のこるはくちょう)


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Swans are large water birds of the family Anatidae, which also includes geese and ducks. Swans are grouped with the closely related geese in the subfamily Anserinae where they form the tribe Cygnini. Sometimes, they are considered a distinct subfamily, Cygninae.



Role in culture

Many of the cultural aspects refer to the Mute Swan of Europe. Perhaps the best known story about a swan is The Ugly Duckling fable. The story centers around a duckling who is mistreated until it becomes evident he is a swan and is accepted into the habitat. He was mistreated because real ducklings are, according to many, more attractive than a cygnet, yet cygnets become swans, which are very attractive creatures. Swans are often a symbol of love or fidelity because of their long-lasting monogamous relationships.

CLICK for more LOHENGRIN photos
Lohengrin

See the famous swan-related operas Lohengrin and Parsifal. In the Irish legend The Wooing of Etain, the king of the Sidhe (subterranean-dwelling, supernatural beings) transforms himself and the most beautiful woman in Ireland, Etain, into swans to escape from the king of Ireland and Ireland's armies.

Swan maidens, shapeshifters who are able to transform from human to swan and vice versa, are a worldwide motif in folklore. The typical tale is of a swan maiden who is temporarily robbed of her powers and forced to marry a human man.

CLICK for more ballet photos !
Swan Lake Ballet

Swans feature strongly in mythology. In Greek mythology, the story of Leda and the Swan recounts that Helen of Troy was conceived in a union of Zeus disguised as a swan and Leda, Queen of Sparta.

The Irish legend of the Children of Lir is about a stepmother transforming her children into swans for 900 years. Myths also exist about swans themselves. It was once believed that upon death the otherwise silent Mute Swan would sing beautifully - hence the phrase swan song.

In Norse mythology, there are two swans that drink from the sacred Well of Urd in the realm of Asgard, home of the gods. According to the Prose Edda, the water of this well is so pure and holy that all things that touch it turn white, including this original pair of swans and all others descended from them. The poem Volundarkvida, or the Lay of Volund, part of the Poetic Edda, also features swan maidens.

In the Russian fable, „Гуси — лебеди“, the swan is a servant of an evil witch who helps her by bringing her children.

In the Finnish epic Kalevala, a swan lives in the Tuoni river located in Tuonela, the underworld realm of the dead. According to the story, whoever killed a swan would perish as well. Jean Sibelius composed the Lemminkäinen Suite based on Kalevala, with the second piece entitled Swan of Tuonela (Tuonelan joutsen). Today, five flying swans are the symbol of the Nordic Countries and the whooper swan (Cygnus cygnus) is the national bird of Finland.

In Latin American literature, the Nicaraguan poet Ruben Darío (1867-1916) consecrated the swan as a symbol of artistic inspiration by drawing attention to the constancy of swan imagery in Western culture, beginning with the rape of Leda and ending with Wagner's Lohengrin. Darío's most famous poem in this regard is Blasón - "Coat of Arms" (1896), and his use of the swan made it a symbol for the Modernismo poetic movement that dominated Spanish language poetry from the 1880s until the First World War. Such was the dominance of Modernismo in Spanish language poetry that the Mexican poet Enrique González Martínez attempted to announce the end of Modernismo with a sonnet provocatively entitled, Tuércele el cuello al cisne - "Wring the Swan's Neck" (1910).

Swans are revered in many religions and cultures, especially Hinduism. The Sanskrit word for swan is hamsa or hansa, and it is the vehicle of many deities like the goddess Saraswati. It is mentioned several times in the Vedic literature, and persons who have attained great spiritual capabilities are sometimes called Paramahamsa ("Great Swan") on account of their spiritual grace and ability to travel between various spiritual worlds.

In the Vedas, swans are said to reside in the summer on Lake Manasarovar and migrate to Indian lakes for the winter, eat pearls, and separate milk from water in a mixture of both. Hindu iconography typically shows the Mute Swan. It is wrongly supposed by many historians that the word hamsa only refers to a goose, since today swans are no longer found in India, not even in most zoos. However, ornithological checklists clearly classify several species of swans as vagrant birds in India.

CLICK for more HAMSA swans
Hamsa swan

One Chinese idiom about swans is how "a toad wants to eat swan flesh!". This idiom is used derisively on men who desire women who are beyond their station in terms of wealth, social class or beauty.

The Black Swan is the faunal emblem of the Australian state of Western Australia and swans are featured on the coat of arms of Canberra, the Australian capital.

Canberra Swans

Swans play a role in LucasArts' graphic adventure computer game Loom. In the game, swans are shown to be what becomes of members of the Guild of Weavers who are either banished or die. They transcend to a higher plane of existence and become swans. The main character Bobbin's mother was also named Cygna, which is a variation of the word cygnus.

Today swans are used symbolically or as brands. The Sydney Swans AFL Team uses a swan as its club emblem/mascot, and Swansea City A.F.C.'s mascot is a swan called Cyril the Swan.

"The Bonny Swans" is a song from Loreena McKennitt's 1994 album The Mask and Mirror.

© More in the WIKIPEDIA !


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Worldwide use


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Things found on the way



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HAIKU


frozen lake -
two swans struggeling
on thin ice


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after the typhoon in October 2004

Yesterday I ventured out by car, passing the small roads whith trees all over cut and thrown alongside, all fallen down by the typhoon. Many landslides just pushed aside to get one car through.

The local irrigation pond was filled to the brink with muddy green-brown water, and yet our two village pets were here unharmed and seemed to give me courage to get on with life.


muddy pond -
two swans afloat
in silent circles



trueber Teich -
zwei Schwaene gleiten
in ruhigen Kreisen


© Gabi Greve, Oct 26, 2004


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summer lake -
a black swan
watches a black sheep


Sommerteich -
ein schwarzer Schwan
sieht einen schwarzes Schaf


 © Photo and Haiku: Gabi Greve, 2005


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Related words

***** Winter Birds as KIGO


Tundra, a topic for haiku


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Fatsia blossoms (hana yatsude)

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Fatsia japonica blossoms (yatsude no hana)

***** Location: Japan
***** Season: Early Winter
***** Category: Plant


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Explanation

Acanthopanax blossoms

Flower of Japanese Aralia
flower of Fatsia japonica, Japanese Fatsia,

yatsude no hana 八手の花 (やつでのはな)
八手の花 , hana yatsude 花八手(はなやつで)
"Flower of a bush with eight hands", with reference to its large shining green leaves. The flower itself is not so auspicious, but contrasts well with the autumn colors of its sourroundings.


CLICK for more TENGU fans
"feather fan of a Long-Nosed Goblin", tengu no ha uchiwa
天狗の羽団扇(てんぐのはうちわ)

because of the form of its leaves




35 colorful autumn
© PHOTO Gabi Greve, 2007

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Fatsia is a small genus of three species of evergreen shrubs native to southern Japan and Taiwan. They have stout, sparsely branched stems bearing spirally-arranged, large leathery, palmately lobed leaves 20-50 cm in width, on a petiole up to 50 cm long, and small creamy-white flowers in dense terminal compound umbels in late autumn or early winter, followed by small black fruit.

Fatsia japonica, known as Fatsi or Japanese Aralia (also occasionally as glossy-leaved paper plant, castor oil plant, fig-leaf palm), is a shrub growing to 3-6 m tall. The leaves have 7-9 broad lobes, divided to half or two-thirds of the way to the base of the leaf; the lobes are edged with coarse, blunt teeth. It is native to southern Japan. The name "Fatsi" is older Japanese, meaning 'eight' (in present-day Japanese hachi), referring to the eight lobes.

The name "Japanese Aralia" is due to the genus formerly being classified within a broader interpretation of the related genus Aralia in the past (synonyms include Aralia japonica and Aralia sieboldii). It is a popular garden shrub in areas where winters do not fall below about -15°C.
© More in the WIKIPEDIA !

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Worldwide use


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Things found on the way



Tengu and Daruma 天狗とだるま


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HAIKU


Temple Tanjo-Ji, Okayama

34 breathtaking RED


At Temple Tanjo-Ji, 2007

33 splendor in RED


fatsia blossoms -
fairyland temple
fairyland Japan



© PHOTO and haiku, Gabi Greve, 2007

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shuugoo wa yabusame doori hana-yatsude

the rendezvous is
at *Yabusame street...
fatsia flower


© ((Suzuki Yuriko))

*Yabusame is a type of Japanese archery, one that is performed while riding a horse. The archer shoots a special "turnip-headed" arrow at a wooden target.This style of archery has its origins at the beginning of the Kamakura period. Minamoto no Yoritomo became alarmed at the lack of archery skills his samurai had. He organized yabusame as a form of practice.


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umi chikaki ryohtei hisoto hana yatsude

restaurant near the sea --
quietly blooms
Fatsia japonicas


© SHU NISHIGAKI (1919 --1978)
Tr. Masako Takahashi



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曇りのち雨の一日の花八手
kumori nochi ame no ichinichi no hana yatsude

clouded, later
rain the whole day ...
fatsia blossoms



© Kazuhiko Nakajima, 2005
Tr. Gabi Greve


CLICK for more photos


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Related words

***** Fly Swatter like a Tengu Feather Fan

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1/05/2008

Song (uta)

[ . BACK to WORLDKIGO TOP . ]
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Song, singing (uta)

***** Location: Japan
***** Season: Non-seasonal Topic
***** Category: Humanity


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Explanation

We all sing when we feel fine or sad or any other occasion during the whole year.

But there are some special songs in Japan that are used as kigo.
Let us look at some.

song, uta 歌 , 唄

The word UTA 歌  is also used for poetry readings.

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SUMMER

song for planting rice paddies, taue uta
田植唄,田植歌(たうえうた)
song of the rice planting girls, saotome uta 早乙女唄(さおとめうた)
These are sacred songs that can not be sung at any other time of the year.
Rice Planting and its KIGO



song whilst spinning silk threads, itohiki uta
糸引歌(いとひきうた)
Silk (kinu), silkworm (kaiko)


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AUTUMN

song for chaffing rice, momisuri uta, momizuri uta
籾摺唄(もみすりうた)


song for pounding bitter persimmons, kakitsuki uta
柿搗歌(かきつきうた)
Persimmon



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WINTER


Kagura Dance Song, kagura uta 神楽歌(かぐらうた)
Kagura Dance (Japan)



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New Year

First poetry meeting, utakai hajime
歌会始 (うたかいはじめ)

..... utakai gokai hajime 歌御会始(うたごかいはじめ)

first waka poetry meeting
..... waka gokai hajime 和歌御会始(わかごかいはじめ)
..... gokai hajime 御会始(ごかいはじめ)

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A New Year Poetry Reading is a gathering of people who get together to read a collection of poems on a common theme to a wider audience. This practice was already in usage during the Nara Period, and became known through the famous volume of Japanese poetry, the Manyoshu.

An Imperial Poetry Reading is the same as the above-mentioned description, the only difference being that the poetry reading is convened by His Majesty the Emperor. As part of the annual events at the Imperial Palace, every month a Poetry Reading came to be held. Of these monthly Poetry Readings, the Imperial Poetry Reading was held as the first such party of the New Year, and was given the name Uta Gokai Hajime.

The origins of the Ceremony of the Utakai Hajime are unclear. During the mid-Kamakura period, on 15 January 1267, Emperor Kameyama convened a Poetry Reading at the Imperial Palace, which is recorded in the Gaiki Nikki as an internal ceremony. Since that time, records of the New Year's Poetry Reading can be found down through the ages. From such evidence, it can be surmised that the origins of the Ceremony of the Utakai Hajime are traceable to the mid-Kamakura period.

The Ceremony of the Utakai Hajime came to be held almost every year through the Edo period, and after the Meiji Restoration, the first Ceremony of the Utakai Hajime during the reign of Emperor Meiji was held in January 1869. Since then, among various reforms in ceremonies, the Utakai Hajime has continued to be held.

The Ceremony of the Utakai Hajime at the Imperial Palace boasts a long history and represents a ceremonial culture that has become more sophisticated with the reforms of the Meiji and post-war eras, to become a cultural event with national participation in a way that is unique in the world. Tanka poetry is said to be at the heart of all traditional culture in Japan. These tanka poems are heard and read not only in Japan, but also throughout the world, and the ceremony demonstrates their power to bind the people together with the Imperial Family through this annual ceremony at the Imperial Palace, which is something to be truly praised and lauded.


CLICK for more photos


The Ceremony of the Utakai Hajime is attended by Their Majesties the Emperor and Empress, and poems recited include those chosen from submissions by the general public, poems of the selectors themselves, and poems by professional poets. Finally, the poems of the Imperial Family, Her Majesty the Empress and His Majesty the Emperor are recited. Members of the Imperial Family, including His Imperial Highness the Crown Prince are present at the Ceremony of the Utakai Hajime, and other audience members include the Minister of Education, Culture, Sports, Science and Technology, members of the Japan Academy of Art and the members of the public whose poems have been chosen.

The ceremony is performed through several participants, each with special titles: the dokuji (master of ceremonies), koji (reader of all poems), hassei (singer of poems from the first poem), and kosho (accompanying singer to the hassei for poems from the second poem).
© www.kunaicho.go.jp

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CLICK for more photos

First New Year Dance and Singers,
"Music of the New Year Pines"
matsu bayashi 松囃子 (まつばやし)

..... matsubayashi 松拍子(まつばやし)
o utaizome 御謡初(おうたいぞめ)

"taking off the overcoat", su ou nugi
素襖脱ぎ(すおうぬぎ)

Performed in Kyoto since olden times. Later the Shogun allowed some specially elected townspeople to enter the Edo castle and perform their New Year Song and Dance for the samurai.
Sometimes the onlookers got carried away by the merrimaking, took off their overcoat and gave it to one of the performers.

Matsubayashi singers are now also used during other ceremonies. The one in Hakata is most famous.

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Song to chase away the birds, tori oi uta
鳥追唄(とりおいうた)鳥追歌


A ceremony held on the "Small New Year", now January 14 or 15.

CLICK for original

torioi (bird chasing), a ceremony to pray for a rich harvest, which takes place on January 14. In the ceremony, children eat rice cakes in special torioi huts made of snow and then parade through the city beating wooden clappers while singing traditional songs in order to chase away birds that might damage crops.
City of Tokamachi, Niigata Prefecture
© web-japan.org/

..... tori oi (tori-oi) 鳥追 "Chasing away the birds".
..... hut, tori-oi goya 鳥追小屋(とりおいごや)
..... tower, tori-oi yagura 鳥追櫓(とりおいやぐら)
..... song, tori-oi uta 鳥追唄(とりおいうた)
enjoying, tori-oi asobi 鳥追遊び(とりおいあそび)


. torioi, tori-oi, tori oi 鳥追 "chasing away the birds" ritual   
- Introduction -

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Balls, decorative hand balls (temari) 手まり
Japan. And the famous poet Ryokan 良寛.
Ball catching song, ball bouncing song,
temari uta 手毬歌, 手毬唄、(てまりうた)



Around 600 during the Asuka period, the kemari (蹴鞠) game was introduced from China to the court of Japan.It was a kind of kick ball for the aristocracy. From this, temari evolved.

First Kick-Ball Game (mari hajime)
kigo for the New Year


The temari thread balls are closely related to the famous priest Ryokan and his simple life. He was even called "Temari-Shoonin" 手まり上人(saint who plays with a temari ball), since he often played with these balls with the local children of his village.
WKD : Ryokan Memorial Day (Ryokan-ki) January 6.


English Temari Reference :
... www.japanesetemari.com


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Temari uta is a song that Japanese children sing to count while bouncing or catching a small ball ten times, each time saying the name of a deity or famous temple or shrine.
After counting to ten, the next verse goes a bit like this:

I believe very much in all these Buddhas and Gods,
and yet, my dear child is very ill and wont heal, my husband has to go to war and might not come back ! I cry and cough blood ... hototogisu!

Here is the Japanese version of this song:

一番初めは一の宮  ..... ichiban hajime wa Ichi no Miya
二また日光中禅寺
三また佐倉の宗五郎
四また信濃の善光寺
五つは出雲の大社(おおやしろ)
六つは村村鎮守様
七つは成田のお不動さん
八つは八幡の八幡宮
九つ高野の弘法様
十で東京泉岳寺 ..... too de Tookyoo Sengakuji

これほど信(神)願 かけたのに
浪子の病はなおらない
武夫が戦地に行くときは
白きま白きハンカチを
うちふりながらも ねえあなた
はやくかえってちょうだいね
泣いて血を吐く ほととぎす hototogisu

Regional Versions of this Song

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source : blog.tsurumi-u.ac.jp/murasaki

春雨にぬれつつ屋根の手毬かな
harusame ni nuretsutsu yane no temari kana

As the spring rains fall,
soaking in them, on the roof,
is a child's rag ball.

Tr. Keene

The children had been playing outside, but with the rain, they went home. One of the balls got caught on the roof and is now exposed to the rain.
The combination of a temari ball and the roof is unique for Buson.


- quote
Spring showers/in/get wet while/roof/'s/silk cloth ball/(exclamation)

(Quotes are from the 俳句大歳時記 (Haiku Dai Saijiki published by Kadokawa Shoten 1973))

The season word (kigo) is "spring showers" (harusame). It is the rain that falls for two months, now considered to be from late February through March. It is a calm quiet steady rain that traditionally in literature has a warm tenderness that is indicative of late spring. This shouldn't be confused with another seasonal word of "spring rain" (haru no ame), which is a nondescript image which can be any kind of rain that falls in spring and which doesn't have any kind of emotional significance attached to it.

The 黒冊子 (Kurosoji (くろぞうし)) is quoted as giving a calendar time frame for each, with "spring showers" (haru same) as falling in the third month while "spring rain" (haru no ame) falls from the New Year to the early part of the second month.

"Temari" (hand ball) is a traditional child's toy for girls that was homemade but by the Edo Period they were being sold in a stores. The core was either cotton, dried potato stems, a ball of harden devil tongue jelly (konyaku) or wood shavings with either clams shells or sand etc... put in. String was then wrapt around the core and finally silk threads of five colors were also wound around to produce a beautiful ball. Since the Meiji era the core has been made from imported rubber.

These hand balls were given as New Years presents to girls, who played games with them while chanting songs ("temari uta") that were specifically made for it. Girls counted the number of times they could bounce the ball, or passed it between themselves, while they sang lively and funny songs that varied from region to region. From the Edo period until the early Meiji period "temari" were usually bounced but throwing them around became the norm too after. (Now, they are just used as decorative items that are hung instead of handled or played with.)

Everyone is, I'm sure, familiar with Masaoka Shiki's "shasei" (sketches from life) theories about haiku and what a major impact that has had on Japanese haiku in the 20th century, but it also needs to be noted that this has also had a big impact on how haiku poets prior to Shiki are now read by people these days. Especially for Buson, who Shiki used as an historical example as of how sketching could be done in haiku.

When it comes to writing about this haiku, most Japanese commentators will immediately try to explain it as Buson writing about something that he has just seen or experienced. That the girls who were singing and playing with a handball had to suddenly stop because of the rain and now the ball is on the roof getting wet, or that Buson is surprised to find that the ball that has been missing is on the roof getting wet in the rain.

Since we know that "spring showers" (haru same) is in the late second and third months and that "temari" (hand ball) is something from the New Year holiday, it is impossible to think of two in the terms as presented in the reading about the rain chasing the girls from playing. And since the second reading above is telling us that Buson is out in the rain looking for something that isn't that important, then we have to consider how plausible it is to believe this haiku as being something that is unfolding in front of Buson's eyes.

The question to ask is why is the ball in the roof? The season book (saijiki) I quoted above gives us as answer, it notes that there is a senryu from Edo in the An'ei calender period (November 1972 to March 1781):

毬も突き飽きれると屋根へ投げて見る
mari mo tsuki akireru to yane e nagete miru

When I get bored of bouncing the ball, I will try to throw it on the roof

which gives a pretty clear explanation on how the "temari" Buson is writing about got up there. Buson died in 1783, so it is to hard argue that he wasn't alive when this senryu got into print.

The "cutting word" in this haiku is "kana" and it cuts the haiku at the end of "nuretsutsu" because it makes a phrase out of what follows it. It provides an exclamation of admiration of wonder that has been sparked in the speaker by what they are experiencing. But, if the object that is has peaked their interest is not in front of them, which is to say it is something that they are not directly experiencing, then it means that the speaker is wonder about or wondering if something is happening.

In the case of this haiku, it pretty obvious to believe that Buson is not on the roof looking at the ball, and while it maybe possible that he is looking up at it, the verb in the haiku implicitly states that the rain is falling, which makes it a bit harder to imagine that he his out in the rain doing this.

The verb is conjugated by "tsutsu" which translates as "while ...ing", but it also can be used to state that something is in the process of coming into a different state.

It must be getting wet in the spring showers......the colorful temari on the roof!

The New Years holiday is family time in Japan. Families gather together and spend time with each other. Spending time laughing and enjoying things with your loved ones is a special memory for everyone, especially if it involves children having a happy joyous time. The falling spring showers in the third month have made Buson remember the temari ball that got thrown on the roof, and all the laughs that happened while doing it, during the not so long ago New Years holidays. By considering what the season words add to in the haiku, we can start sketch what sentiments Buson was feeling when he wrote it.

It must be soaked
through by the warm
silent spring showers...
the colorful temari they
playfully tossed
to the roof!


The quietness of the showers reflects over the break againsy the noisy boisterous way the girls sang and played with the "temari" and makes the memory ring deeper.

I am tempted to go with "she" instead of "they" because it would bring out the tenderness more by implying that Buson was writing about his daughter. But for now, let's leave it at that.




some tamari balls:
http://twistedsifter.com/2013/12/grandma-shares-30-years-of-embroidered-temari-balls/
how to make them:
https://www.youtube.com/watch?v=6vAIrSJBSo0
temari song:
https://www.youtube.com/watch?v=JRGbCymN_TM
playing temari:
http://www.garitto.com/product/16164811

- source : James Karkoski - facebook group


. WKD : Yosa Buson 与謝蕪村 in Edo .


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Worldwide use


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Things found on the way



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HAIKU


. WKD : Kobayashi Issa 小林一茶 .
Tr. Chris Drake

今の世や見へ半分の田植唄
ima no yo ya mie hambun no taue-uta

these days
singers are performers --
rice-planting songs



wakai-shu wa mie hambun ya taue-gasa

young people
care how they look --
rice-planting hats



kasa toreba bouzu narikeri taue-uta

hat off
he's a monk --
rice-planting songs



outa ko mo hyoushi o naku ya taue-uta

on mother's back
baby cries to the beat --
rice-planting songs



oohiki mo nosa-nosa detari taue-zake

gradually
a big toad joins --
rice-planting sake



These are some of the hokku Issa wrote at rice-planting time in the 5th month (June) of 1823 and 1825. Rice-planting was an important event and was both hard work and a major village festival. The work/festival went quickly at each paddy because the work was communal. The whole village or one part of the village would gather at one paddy at a time and do the planting together, and all the paddies would be planted within a few days. The actual planting was done by women of all ages, who were called sa-otome or "rice maidens" in this role, because traditionally they were believed to have more shamanic power than men, though men sometimes helped out if need be. According to many scholars, in the ancient period village women actually went into seclusion and did austerities, sang sacred songs, and focused their spiritual power for several days before planting rice, and the planting songs sung at Shinto shrines even today retain a strong shamanic element, with the mountain god coming down and becoming the field god through the welcoming power of the women planters and their songs.

The songs and other rice-planting rituals in villages in Issa's time probably retained some of this welcoming-ceremony character, although many types of planting songs were sung. The festival began with songs sung while bringing young rice shoots to the fields early in the morning and continued with other morning songs as the women began to plant the shoots in the flooded paddy. Many of the songs were humorous and even amorous, perhaps reflecting the ancient pattern in which the woman shaman and male god were lovers. In any case, love songs were believed to bring fertility to the paddy.

As for the songs, morning planting songs were often about a woman saying goodbye to her visiting lover in the morning, while other songs praised the god of the field. Noon songs praised the people who brought food presented to the god -- and to those working in and near the paddy. Afternoon songs were usually long, with a lot of repetition, and could be prayer-like, about how well the rice will soon be growing, or even love songs. Late in the afternoon the women would sing farewell songs that were also farewells to the god of the field for the day. Meanwhile men also did a lot of support work, and male musicians played one or more drums, sometimes together with flutes, gongs, and other instruments.

Meter was often irregular, although in some areas of Japan stanzas had a fixed meter, such as the popular 7-7-7-5 syllable stanza, and improvisation was generally permitted. The songs were performed according to a call and response structure, with the drummer calling out a stanza the planters singing a response or reply, often humorous. This dialogical structure, which can be found even in the earliest mythic texts, is believed to have been an important element in the evolution of linked song into linked verse -- renga and then haikai. And in addition to influencing poetry, the ceremonies, dances, and skits at shrine rice-planting festivals also constituted one of the main traditions out of which No and other forms of Japanese drama and dancing emerged.

Basho noticed the relationship with haikai when he made his trip to the north and saw musicians and women planters engaging in song dialogs in the rice fields in the rural Oku area of Honshu, where he wrote:

fuuryuu no hajime ya oku no taue-uta

poetry's source --
rice-planting songs
in far fields


Basho seems to mean that dialogical rice-planting songs are not only the most basic origin of renga and renku but also a continuing, timeless source of haikai that he will draw on as he travels through the north country. .

In Issa's first hokku he remarks, apparently humorously, that the women in bright colors singing in the paddies (and no doubt the men musicians and helpers) have become more interested in the performance itself than they used to be. Issa, now sixty, is presumably comparing the singers with those he remembers from his childhood. Apparently people now wear more stylish robes and sing with more consciousness of technique and personal style than they did several decades before. It's possible this change is at least partly due to the large numbers of poor farmers from the area who, like Issa, went to Edo and later returned with new ideas and styles. It's also possible Issa doesn't realize that the women in colorful robes who sing their songs so dramatically are thereby trying to please and attract the mountain god and invite him down to their field. In any case, the hokku seems to be an observation rather than a criticism.

The second hokku seems to be about both young men and women, who are more conscious of fashion and personal attractiveness than they used to be. People at a rice planting festival wore several types of wide rush or straw hats, often decorated, and both men and women now use even their hats to express themselves, perhaps since their faces under the large hats are hard to see. In the third hokku, one man who has been helping out takes off his wide hat and turns out to be a Buddhist monk. He seems to enjoy taking part in the festival, singing about ribald situations and Shinto gods, even though he isn't a Shinto priest.

This could be satire, but I take Issa to be impressed by the monk's ordinary humanity and his willingness to help out. In the fourth hokku, a woman plants with her young child strapped or wrapped against her back, the most common way of carrying young children in Issa's time. The child is crying, but its cries follow the beat of the drum and the rhythm of the songs its mother is singing. In the fifth hokku, a large toad shows up at the festival, and it seems to like the sake which is being served after the planting has finished. Its cautious movements are slow and unobtrusive, and by the time people notice, it's right below the flowing sake.

All five of these hokku (and several others written at the same time) have identical or similar last lines. At first glance this seems monotonous, but Issa may be trying to reproduce a certain aspect of rice-planting songs for the reader by doing this. Although a drummer and the planters would exchange hundreds of stanzas during the day, many songs had recurring refrains. One common pattern, suggesting a connection with early renga and renku, was to repeat the last line of the call stanza as the first line of the reply stanza. By repeating the same third line, Issa's hokku give readers a physical sense of planting-song refrains.



. . . CLICK here for Photos !

Chris Drake


Rice Planting and its KIGO


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手毬歌かなしきことをうつくしく
temari uta kanashiki koto o utsukushiku

ball bouncing song -
such a sad thing
said so beautifully


Takahama Kyoshi
Tr. Gabi Greve

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鳴く猫に赤ン目をして手まり哉
naku neko ni akambe o shite temari kana

making a face
at the whining cat...
bouncing her ball




涼しさよ手まり程なる雲の峰
suzushisa yo temari hodo naru kumo no mine

summer cool--
the puffy clouds
like handballs



寝ころぶや手まり程でも春の山
ne-korobu ya temari hodo demo haru no yama

lying down
they look like handballs...
spring mountains


Kobayashi Issa
Tr. David Lanoue

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桃の咲く寺の境内手まり唄
momo no saku tera no keidai temari uta

in a temple garden
with peach blossoms -
ball bouncing son


© author anonymous / www.gendaihaiku.gr.jp


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Related words

***** Saijiki of Buddhist, Shinto and other Ceremonies
and Events of Japan and related kigo


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

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1/01/2008

NEW YEAR food

[ . BACK to WORLDKIGO TOP . ]

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THIS FILE HAS MOVED !



NEW YEAR FOOD


WASHOKU SAIJIKI


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12/29/2007

Fulling block (kinuta)

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Fulling block (kinuta)

***** Location: Japan
***** Season: All Autumn
***** Category: Humanity


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Explanation


 !

Fulling blocks are wooden mallets used to beat the washing to get it dry and soft during the Edo period. They also gave a special shine to the beaten cloth. They were hit on a wooden block or on stone, sometimes near the river where the washing was one. "Pounding cloth" is another translation of this activity.
This is one of the evening jobs of a farming family, called "night work" yonabe, see below.

The name KINUTA seems to have derived from kinu ita 衣板, a board for beating silk.

This kind of mallet is also used for other material to make it soft for processing into goods, as in the kigo for straw, paper and arrow root. This kind of work was often done in the dark evenings by the farmers wifes, since they had so many other jobs to do during daytime light.
fulling-block
Gabi Greve






kinuta . . .
chirps of the crickets
between beats


- Shared by Elaine Andre -


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fulling block, washing mallet, kinuta 砧 (きぬた)
hitting with the mallet, kinuta utsu 衣打つ(ころもうつ)
hitting cloth with a mallet, toui 擣衣(とうい)

using the washing mallet in the evening, yuu kinuta 夕砧(ゆうきぬた)
..... yoi kinuta 宵砧(よいきぬた)
..... sayo kinuta 小夜砧(さよきぬた)

hearing the beating sound of a washing mallet from afar
too kinuta 遠砧(とおきぬた)
fulling block mallet, kinuta no tsuchi 砧の槌(きぬたのつち)

block for the mallet, kinuta ban 砧盤(きぬたばん)


mallet for beating straw, wara kinuta 藁砧(わらきぬた)
To make the straw softer for processing into goods like straw sandals or straw raincoats in the Edo period.


Other uses for hitting material to make it softer and workable:

mallet for hitting paper, kami kinuta 紙砧(かみきぬた)
mallet for hitting arrow root, kuzu kinuta 葛砧(くずきぬた)


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Traditional "ironing" in Korea and Japan

In Korea the drumming of traditional ironing sticks was traditionally called a joyful sound. Even though it didn't please all ears, it was a symbol of a secure home life. In Japan the beating of a single mallet pounding fabric smooth was associated with melancholy - in poetry at least. In Korea two women knelt on the floor, facing each other across a smoothing stone or tatumi-tol, a pangmangi club in each hand, beating out a rhythm on the cloth. This kind of "ironing" looks more solitary in Japanese art, where a woman kneels alone before a fulling block or kinuta and hammers with a single mallet. ...

The Japanese fulling-block and Korean smoothing-stone, like so many other tools used in pressing cloth, had their uses in manufacturing new cloth as well as in maintaining laundered fabric. (Fulling involves beating the fibres to make the cloth thicker and/or softer.)

Read the full article with photos HERE
 © www.oldandinteresting.com


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CLICK for original LINK © www.internationalfolkart.org

The woman pounding cloth on a fulling block is the heroine of a Noh play.
The wife strikes the block throughout the night hoping that the sound will reach him in the distance and hasten his return.
The idea is based on a Tang dynasty Chinese poem in which the sound of cloth being beaten by his wife reaches the ears of a man far from home.
 © www.internationalfolkart.org


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kinuta odori 砧踊り fulling-block dance


明日は殿御(とのご)の砧打ち 明日は殿御の砧打ち
御方姫御(おかたひめご)も出てうたへ

砧踊りは面白や 砧踊りを一踊り

Tomorrow is fulling-block time for the Lord!
Tomorrow is fulling-block time for the Lord!
The Lady will also come out to sing.

The fulling-block dance is so funny!
Come on,let us dance the fulling-block dance!

source : 青柳



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Worldwide use


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Things found on the way



CLICK for more photos

Noh Drama "The Fulling Block" Kinuta
能 砧

A woman whose husband has spent three years in the capital hears that he will return at the end of the year, but is later informed that he is unable to return, leading to her insanity from disappointment, loneliness, and hatred and eventually to her death.
The husband, upon learning of this, returns and ritually summons her ghost, which appears in an embittered mood and expresses resentment for having suffered in Hell; through the power of the Lotus Sutra, however, she eventually attains peace.

More information



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HAIKU



砧打て我に聞かせよや坊が妻
kinuta uchite ware ni kikase yo ya boo ga tsuma

pounding cloth
for me to hear ...
the wife of the priest

Tr. Gabi Greve

Matsuo Basho 芭蕉
Basho spent the night in a temple lodging.
From: Bleached Bones in a Field
. Matsuo Basho in Yoshino .


beat the fullilng block,
make me hear it -
temple wife

Tr. Barnhill


Strike the fulling block
let me hear it!
temple mistress

Tr. Shirane


Женщина из храма,
бей по валочной доске -
ну же, посильней!

МАЦУО БАСЁ (1644-1694) / Tr. D. Smirnov

quote
Basho was in Yoshino, rich in poetic and religious traditions. Clothes were pounded on a fulling block to clean and soften them, and in the poetic tradition the sound was associated with loneliness. The fulling block was not commonly used in Basho ’s time, but he wishes to hear its sound in order to feel deeply what was considered the essential nature of Yoshino in autumn.
There is an allusion to a waka by Fujiwara Masatsune (1170–1221):

At Yoshino
the mountain wind
deepens into the night,
and in the old village
a fulling block is struck


(miyoshino no / yama no akikaze / sayo fukete
furusato samuku / koromo utsunari).

Tr. and Comment by Barnhill
source : www.haikupedia.ru


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声澄みて北斗にひびく砧かな
koe sumite hokuto ni hibiku kinuta kana

its sound clear,
echoing to the Northern Stars:
a fulling block

Tr. Barnhill


This hokku has the cut marker KANA at the end of line 3.

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猿引は猿の小袖を砧哉
saru hiki wa saru no kosode o kinuta kana

a monkey showman
with a little monkey jacket
on a fulling block

Tr. Barnhill

Written in 貞亨元年, Basho age 41 or later


a monkey trainer
pounds (cloth) for a little monkey coat
on the fulling block . . .

Tr. Gabi Greve

. WKD : saruhiki 猿曳 、猿引 monkey trainer.



. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


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The Cloth-fulling Jewel River 壔衣の玉川
鈴木春信 Suzuki Harunobu (Museum of Fine Arts, Boston)

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- - - - - Kobayashi Issa - - - - -


えた町も夜はうつくしき砧哉
eta mura mo yo wa utsukushiki kinuta kana

in the outcasts' village too
a lovely night...
pounding cloth


Sakuo Nakamura writes, "In my native town there is an eta village; mothers tell their children not to enter there. Issa has a very peaceful mind. He know well the sadness of living. When he saw the Eta village in the night, not only darkness covered, but racial discrimination as well. And he heard the sound of the kinuta as if it came from Buddha."

In Japan and Korea, fulling-blocks were used to pound fabric and bedding. The fabric was laid over a flat stone, covered with paper, and pounded with sticks, making a distinctive sound. This haiku refers to the outcasts (eta). In Issa's time, they performed "unclean" jobs such as disposing of dead animals, working with leather, and executing criminals. In my earlier translation, I use the phrase, "fulling-block," an arcane term that means nothing to most English readers. "Pounding cloth" is a translation solution provided by Makoto Ueda, whose example I gratefully follow; Matsuo Bashô (Tokyo: Kodansha, 1982) 53.


砧打夜より雨ふる榎哉
kinuta utsu yo yori ame furu enoki kana

pounding cloth
in the night...
rain on the nettle tree



故郷や寺の砧も夜の雨
furusato ya tera no kinuta mo yoru no ame

home village--
pounding cloth at the temple
and evening rain



唐の吉野もかくや小夜ぎぬた
morokoshi no yoshino mo kaku ya sayo-ginuta

like in Old China
Yoshino, too, clonks...
cloth-pounding


In Japan and Korea (and--we see in this haiku--Old China), fulling-blocks were used to pound fabric and bedding. The fabric was laid over a flat stone, covered with paper, and pounded, making a distinctive sound. For Issa, the sound evokes a nostalgic feeling. Yoshino is a famous place (in Japan) for viewing the cherry blossoms.

Tr. David Lanoue / Read MORE !


More of Issa's haiku about pounding cloth, using
Onomatopoetic Words !



is even the Yoshino
in China like this?
fulling cloth at night


snip
Issa alludes to a number of classical poems in order to praise other mountains and thus strengthen his case that tonight the mountains around him are surely even more moving. There is of course no Mt. Yoshino in China. It is hyperbole for the most remote place in the world, a phrase made famous by waka no. 1049 by Fujiwara Tokihira in the courtly Kokinshuu anthology:

morokoshi no yoshino no yama ni komoru to mo
okuremu to omou ware naranaku ni

even if you
seclude yourself in
Mt. Yoshino in China
I will follow after
the whole way


snip
Later the image was often interpreted to mean "the Chinese equivalent of Mt. Yoshino," and in Travel Record of a Weather-Bleached Skeleton (Nozarashi kikou) Basho writes that the holy men who secluded themselves on Mt. Yoshino and wrote poems there felt that the Chinese equivalent of Mt. Yoshino was Mt. Lu, where many monks and poets retired.

. Chris Drake - the full comment .


. Kobayashi Issa 小林一茶 in Edo .


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- - - - - Yosa Buson - - - - -


このふた日砧聞えぬ隣かな 
kono futahi kinuta kikoenu tonari kana

the last two days
no sound of beating cloth
from the neighbours . . .

Tr. Gabi Greve



遠近をちこちとうつきぬた哉
ochikochi ochikochi to utsu kinuta kana

near and far
here and there the beating sound
of fulling blocks . . .

Tr. Gabi Greve


Buson uses the Chinese characters and hiragana type of spelling words in a masterly way. This is one of the language forms of haiku that just can not be captured in a translation.
The cut marker KANA is at the end of line 3.


Far and near, near and far,
they clop and clop......
wooden cloth fulling blocks!!


This haiku is near to impossible to translate because Buson has captured the onomatopoeia of the blocks being hit with the twice repeated sound of 'ochikochi', thus also presenting an image within the sound of the blocks hitting the cloth.
The book 'Buson and Chinese Poetry' makes the argument that he is alluding to another poem by Li Bai. I could only find the first two lines of this poem translated on the internet:
'The whole Chang'an is covered by bright moonlight
From tens of thousands of houses comes the sound of clothes beating.'
To paraphrase the rest of the poem from the book, the autumn wind never stops, all the women in the area think of their husbands far off at war and wonder when they will return home. It is hard to ignore the at war part of the original poem if you choose to read the allusion into it. The book does take to task commentators who have argued that it was the sound from one place or the sound of a mother and daughter who fulling clothes together by saying that Li Bai did write '10000 doors'. And, he did write the kanji that means 'far and near' when if he didn't want to include it all he had to do was write it in hiragana.
The haiku is only 16 morae.
- Tr. and comment :James Karkoski - facebook -


- Yosa Buson 与謝蕪村  (1716-1783)


- - - more kinuta hokku by Buson


貴人(あてびと)の岡に立ち聞く砧かな - atebito no

小路行けば近く聞ゆる砧かな - kooji ikeba

霧深き広野に千々の砧かな - kiri fukaki

砧聞きに月の吉野に入る身かな - kinuta kiku

比叡にかよふ麓の家の砧かな - Hiei ni kayou

旅人に我家知らるる砧かな - tabibito ni

憂き我に砧うて今は又止みね - uki-ware ni


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Related words

***** nightwork, evening at home, yonabe
夜業 (夜なべ)
..... yagyoo 夜業
..... yoshigoto 夜仕事

... tawara ami 俵網 (たわらあみ) making straw bags
komedawara amu 米俵編む(こめだわらあむ)making straw bags for rice
sumidawara amu 炭俵編む(すみだわらあむ) making straw bags for charcoal



Yonabe night work and the pounding of cloth reminds the Japanese of the hometown, home village ...

FURUSATO haiku
ふるさと 故郷、古里 故里 郷土 郷里



***** Mallet for good luck, (fuku-tsuchi 福槌)
kigo for the New Year

You hammer your straw, make straw sandals out of it, sell them and voila, you are a rich man.
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