03/10/2014

Felice Beato Felix

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Beato Felice Beato

(1832 – 29 January 1909)



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also known as Felix Beato, was an Italian–British photographer. He was one of the first people to take photographs in East Asia and one of the first war photographers. He is noted for his genre works, portraits, and views and panoramas of the architecture and landscapes of Asia and the Mediterranean region. Beato's travels gave him the opportunity to create images of countries, people, and events that were unfamiliar and remote to most people in Europe and North America. His work provides images of such events as the Indian Rebellion of 1857 and the Second Opium War, and represents the first substantial oeuvre of photojournalism. He had an impact on other photographers, and his influence in Japan, where he taught and worked with numerous other photographers and artists, was particularly deep and lasting.

Japan
By 1863 Beato had moved to Yokohama, Japan, joining Charles Wirgman, with whom he had travelled from Bombay to Hong Kong. The two formed and maintained a partnership called "Beato & Wirgman, Artists and Photographers" during the years 1864–1867, one of the earliest and most important[ commercial studios in Japan. Wirgman again produced illustrations derived from Beato's photographs, while Beato photographed some of Wirgman's sketches and other works. (Beato's photographs were also used for engravings within Aimé Humbert's Le Japon illustré and other works.)

Beato's Japanese photographs include portraits, genre works, landscapes, cityscapes, and a series of photographs documenting the scenery and sites along the Tōkaidō Road, the latter series recalling the ukiyo-e of Hiroshige and Hokusai. During this period, foreign access to (and within) the country was greatly restricted by the Shogunate. Accompanying ambassadorial delegations[30] and taking any other opportunities created by his personal popularity and close relationship with the British military, Beato reached areas of Japan where few westerners had ventured, and in addition to conventionally pleasing subjects sought sensational and macabre subject matter such as heads on display after decapitation.
His images are remarkable not only for their quality, but also for their rarity as photographic views of Edo period Japan.



Samurai of the Satsuma clan, during the Boshin War period

The greater part of Beato's work in Japan contrasted strongly with his earlier work in India and China, which "had underlined and even celebrated conflict and the triumph of British imperial might". Aside from the Portrait of Prince Kung, any appearances of Chinese people in Beato's earlier work had been peripheral (minor, blurred, or both) or as corpses. With the exception of his work in September 1864 as an official photographer on the British military expedition to Shimonoseki, Beato was eager to portray Japanese people, and did so uncondescendingly, even showing them as defiant in the face of the elevated status of westerners.

Beato was very active while in Japan. In 1865 he produced a number of dated views of Nagasaki and its surroundings. From 1866 he was often caricatured in Japan Punch, which was founded and edited by Wirgman. In an October 1866 fire that destroyed much of Yokohama, Beato lost his studio and many, perhaps all, of his negatives.

While Beato was the first photographer in Japan to sell albums of his works, he quickly recognised their full commercial potential. By around 1870 their sale had become the mainstay of his business. Although the customer would select the content of earlier albums, Beato moved toward albums of his own selection. It was probably Beato who introduced to photography in Japan the double concept of views and costumes/manners, an approach common in photography of the Mediterranean. By 1868 Beato had readied two volumes of photographs, "Native Types", containing 100 portraits and genre works, and "Views of Japan", containing 98 landscapes and cityscapes.

Many of the photographs in Beato's albums were hand-coloured, a technique that in his studio successfully applied the refined skills of Japanese watercolourists and woodblock printmakers to European photography.

Since about the time of the ending of his partnership with Wirgman in 1869, Beato attempted to retire from the work of a photographer, instead attempting other ventures and delegating photographic work to others within his own studio in Yokohama, "F. Beato & Co., Photographers", which he ran with an assistant named H. Woollett and four Japanese photographers and four Japanese artists. Kusakabe Kimbei was probably one of Beato's artist-assistants before becoming a photographer in his own right. But these other ventures would fail, and Beato's photographic skills and personal popularity would ensure that he could successfully return to work as a photographer.

Beato photographed with Ueno Hikoma, and possibly taught photography to Raimund von Stillfried.
Felice Beato with Saigo Tsugumichi (both seated in front), with foreign friends. Photograph by Hugues Krafft in 1882.

In 1871 Beato served as official photographer with the United States naval expedition of Admiral Rodgers to Korea. Although it is possible that an unidentified Frenchman photographed Korea during the 1866 invasion of Ganghwa Island, Beato's photographs are the earliest of Korea whose provenance is clear.



Beato's business ventures in Japan were numerous. He owned land and several studios, was a property consultant, had a financial interest in the Grand Hotel of Yokohama, and was a dealer in imported carpets and women's bags, among other things. He also appeared in court on several occasions, variously as plaintiff, defendant, and witness. On 6 August 1873 Beato was appointed Consul General for Greece in Japan.

In 1877 Beato sold most of his stock to the firm Stillfried & Andersen, who then moved into his studio. In turn, Stillfried & Andersen sold the stock to Adolfo Farsari in 1885. Following the sale to Stillfried & Andersen, Beato apparently retired for some years from photography, concentrating on his parallel career as a financial speculator and trader. On 29 November 1884 he left Japan, ultimately landing in Port Said, Egypt. It was reported in a Japanese newspaper that he had lost all his money on the Yokohama silver exchange.
© More in the WIKIPEDIA !


フェリーチェ・ベアト
- source : wikipedia Japan

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Beato in Yokohama
Beato resided in Yokohama for 21 years, the longest period he worked in a single place. Through his camera, he captured the transitional period between the feudal governance of the Edo period (1600–1868) and the imperial rule of the Meiji era (1868–1912) with memorable portraits, landscapes, and genre scenes. (Go to Chronology for more details of Beato's life and work.)
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“Photographic Views of Japan with Historical and Descriptive Notes”
When he arrived in Japan in 1863, Beato brought with him a considerable inventory of photographs and negatives. Unfortunately, these plus the negatives he initially made in Japan were lost in a fire that swept through Yokohama and destroyed much of the city in 1866. Between 1866 and 1868, Beato worked feverishly to rebuild his stock and reestablish his livelihood. After producing hundreds of negatives, he selected a suite of photographs which he published with descriptions under the collective title Photographic Views of Japan with Historical and Descriptive Notes shortly after the overthrow of the feudal regime in 1868. The complete set survives in some collections, but often the images have been disassembled.

This handsome album established a British view of “Japan” for the West. Each albumen print has a satin sheen. (For more about albumin prints, go to Photographic Terms.) The print is mounted on heavy paper to keep the thin photographic paper from curling inward after development. Almost every photograph is accompanied by a brief descriptive caption written by James W. Murray to provide an interpretive label for the viewer. The description is mounted on the opposite page and printed with distinctive type within an elegant border. When viewers turned each page of the large bound albums, they encountered not only a beautiful landscape, portrait, or scene of everyday life, but also a presumedly authoritative commentary on the subject depicted.

These captions are of particular interest today not only for the stories they tell, but also for the odd and old-fashioned ways in which many Japanese names and words are “romanized.” They also contain many factual errors that reveal the rudimentary level of foreign knowledge of Japan at this early stage in the nation's new relationship with the West. (The captions have been reproduced without correction here.)
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Commemorative Albums & Tourism
Albums were introduced very early into the practice of photography. The albums often were bound like books, with embossed titles printed on the cover or spine. Covers were made of leather, fabric, or carved wood. In Japan, they also included lacquer with elaborate inlays. Photographers assigned to the British military expeditions often created albums for the officers to commemorate their battles. Beato created his first such keepsake album for officers who fought in the Crimean War. Often the albums were sent to their families and friends in advance of the officers’ return to Britain as a way of communicating the complexity of their lives and display of bravery for their country. Such albums, sometimes displayed in lyceums, fed a hungry public with images long after battles were fought.
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Coloring Black-&-White Originals
In the two-volume Photographic Views of Japan, landscapes and points of interest comprise the first volume and are presented in black-and-white albumen prints. In the second volume, reproduced here, the albumen portraits and genre scenes of everyday life were colored by hand.

Beato colored the photographs using several methods. The tonal shades of velvety blacks, reddish-browns, and purples were controlled through the interaction of developer chemicals and the albumen paper. To achieve more vivid colors, artisans applied watercolors to the completed print. The usual hand-applied colors were green, blue, red, and yellow. Templates were cut to to ensure consistency when painting watercolors on multiple prints from the same negative.

Charles Wirgman (1832–1891), Beato’s journalist friend and business partner, initially painted the photographs with watercolor. Shortly after Wirgman and Beato began partnering in the studio, however, Japanese watercolor artists were contracted for this service. Beato had a ready supply of colorists from the skilled craftsmen who had been trained to color woodblocks for traditional woodcut prints. With color photographs, Beato hoped to appeal to the prevailing taste already established by Japanese woodblock prints.
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Photographs & Captions
This portrait of “Girl Playing the Samisen” acquires additional meaning with Murray’s descriptive caption, in which he writes about the instrument and the role of music in the training of young women. As he tells it, the instrument is the equivalent of the guitar, thus establishing for the viewer a comparative model. Murray continues with a description of how the samisen is “played with a flat piece of wood, or ivory, or horn, and seldom struck with the fingers,” and goes on to impose his own Western standards by characterizing its sound as “wild and harsh” and the woman’s voice as “by no means pleasant to the ear.” These girls are “studious and diligent, and music is part of their overall education,” he states, but there is a “wonderful absence of any approach to harmony in the airs played by even the most carefully taught.”
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Models & “Types”
The “Views of Japan” reproduced in this unit represent portraits selected from Beato’s wide-ranging opus and sold as a group by the photographer. This particular album, held by the Smith College Museum of Art, contains 50 images formerly bound in a green linen cover with the printed title, now absent, in the center of the cover. Although each photograph is different, the viewer may discern certain resemblances in the physical characteristics of the sitters. Beato usually hired his sitters and dressed them in appropriate attire for his studio photographs. The models for “Mr. Shōjirō” and “Our Painter” could almost be the same person, for example, although their descriptions differ greatly. In both images, the model holds instruments of trade in his hands. Mr. Shōjirō holds “that ingenious little calculating table of his …,” the soroban, or abacus. The painter stands in front of his portfolio of prints while holding his palette and brush. “A bit of a roué is our painter,” Murray states, “much given to wine, and not insensible to the charms of singing girls. A good creature on the whole…. ”
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Crime & Punishment
To some degree, the violence Beato captured in his earlier non-Japanese war photographs is evident in Views of Japan. During its transitional years as a treaty port, the Yokohama settlement was not entirely safe for foreigners. Often travel outside the confines of the settlement was not permitted or required hired guards. The two photographs that conclude the Smith College Museum of Art album, depicting “The Executioner” and “The Execution,” are vivid reminders of the harshness of the times. Beato staged a studio portrait for the former, a nameless executioner with sword raised ready to decapitate a criminal.
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“The Executioner” (detail)
The album concludes with two Beato photographs of violence. The caption accompanying this photo suggests that it depicts an actual execution ground. It was, in fact, staged in Beato’s studio.


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By contrast, “The Execution” is an outdoor shot without imaginary props, depicting a crucified criminal and several severed heads on display. Murray’s description, one of the lengthiest in the album, serves several purposes. It describes not only the execution scene but the multiple ways in which executions were performed—crucifixion, beheading, or forced suicide. When the traveler returned home to share Beato’s photographs and Murray’s texts, he or she came away with a final impression of barbarism—an image that would have a substantial and pernicious afterlife in later foreign representations.
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Tourism & the Western Image of Japan
With images such as these, Beato’s pioneer photographs helped consolidate the impressions of Japan held by many Westerners. Perusing such albums, the viewer was able to safely travel the byways of Japan and—supposedly—witness daily life. These graphics and their captions created an iconic image of Japan that would survive the sale of Beato’s studio in 1877 and even the photographer’s death in 1908. With his genre scenes, Beato provided a window on an exotic country interpreted through the lens of Western culture. Such albums became mementos for tourists and, for those who would never have the luxury of visiting, a bound collection of highly selected and filtered knowledge.
- source : ocw.mit.edu/ans7870


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curio shop

- - - Gallery of his photos - Beato's Japan: People
- source : ocw.mit.edu/ans


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Rokubu priest, 1867, carrying his portable altar
Photo by Felice Beato, around 1668

The rokubu was an itinerant priest who traveled to restore fertility to barren women, carrying his tools on his back.

. . 六十六部 Rokujurokubu, 六部 Rokubu Pilgrims .


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- Reference - フェリーチェ・ベアト -
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22/08/2014

Nishikawa Terukazu

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Nishikawa Terukazu Nishikawa 西川輝和

painter 洋画家
Most of his themes are Buddha statues, which he often copies with great detail in an oil painting.


CLICK for more photos !

(1948 - ) - born in Nagoya
He now lives in Osaka 大阪府寝屋川市. 

member of 関西仏教美術会.

- - - - - His Homepage
- source : butsubi.web.fc2.com/nishikawa

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- - - statues in the spirit of Mokujiki 木喰 - - -

. Mokujiki (1718-1810) and his Fudo 木喰の不動さま .












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


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- Reference - 西川輝和 -

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18/08/2014

Doyo Shonin

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Dooyo Shoonin 道誉上人 Doyo Shonin

(1515 - 1574)



He had been to Narita san and practised austerities, expecially not eating 断食修行 for 100 days.
On the last day, when his vow was fulfilled, Fudo Myo-O appeared before him and pierced his throat with his sword of wisdom.
From that day on, Doyo could remember 10.000 sutras.

He later became the 9th head priest of the famous Tokugawa clan temple Zoojooji 増上寺 Zojo-Ji.
- source : www.naritasan.or.jp

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source : www.naritasan.or.jp


道誉上人と謡曲「成田山」
. Fudo Myo-O 不動信仰事典 .


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NAMU AMIDA BUTSU Attributed to Tokugawa Ieyasu (1542-1616)



According to the Nihon Shoseki Taikan, the monk Doyo Shonin of ?Daijuji  urged Tokugawa Ieyasu to write the Namu Amida Butsu prayer daily around the year 1612, four years before Ieyasu's death.
Nihon Shoseki Taikan 13 (1979):7.
- source : www.bonhams.com


. Tokugawa Ieyasu 徳川家康 .


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. Narita Fudo 成田不動尊 .
Temple Shinsho-Ji (Shinshooji) 新勝寺


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




- Reference - Japanese -


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31/07/2014

Kobayashi Bokugyu

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Kobayashi Bokugyuu 小林牧牛 Kobayashi Bokugyu



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小林牧牛の世界 - The World of Kobayashi Bokugyu
- source : www.bokugyu.com/product1.html

Born 1949.


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不動明王 天地を睨む 
Fudo Myo-O staring at Heaven and Earth
不動明王は怖い顔をしてます。




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kotsutsubo 骨壺 urn for the ashes and bone
(after burning the dead body)





source : www.salon-k.com


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



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お地蔵さんの頭はなぜ坊主なんでしょうか。
O-Jizo San





manekineko 招き猫 - beckoning cat

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- Reference - 小林牧牛 -


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28/07/2014

Yuten Shonin

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Yuuten, Yūten 祐天 Yuten Shami
Yuuten Shoonin 祐天上人 Yuten Shonin

(1637 - 1718)





- source : www.robynbuntin.com

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Fudo Myoo Threatening the Young Priest Yuten Shami
Fantastic depiction of the Buddhist deity Fudu Myoo threatening the young priest Yuten Shami with a sword. The kneeling acolyte clasps his hands together in prayer as the deity grips him by the neck, inserting the sword down his victim's throat. Surrounded by red flames, the fiery spirit grimaces at the young man.
According to legend, Yuten Shami was a terrible scholar and could not learn the sutras. After his teachers gave him up as hopeless, he swore a vow before an image of Fudu Myoo to become a better student. That night, he dreamed of swallowing a sword. The next morning he woke up coughing up blood, and long with it, his stupidity. From that day on, he was a gifted and wise student.
- source : Yoshitoshi (1839 - 1892) - facebook




another print by Yoshitoshi


Yuten prayed at Narita Fudo 成田不動尊 - 新勝寺 Temple Shinsho-Ji
. Fudō Myō-ō, Fudoo Myoo-Oo 不動明王 Fudo Myo-O
Acala Vidyârâja - Vidyaraja - Fudo Myoo .



. Tsukioka Yoshitoshi 月岡芳年 .
(1839 – June 9, 1892)


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Fudo-Myo Threatening a Novice, 1885
Taiso Yoshitoshi (1839 - 1892)

This is one of the great and outstanding works by Yoshitoshi. He presents a supernatural event laden with symbolism and significance and overlaid with an astonishing sense of the dramatic and the powerful design for which he is now so famous. The influence of the ukiyo-e tradition of theatre prints is evident in the composition of the piece - the placement of each character on its own sheet recalls the habit of selling kabuki triptychs in single or multiple sheets. The shallow space evokes the traditional stage of the kabuki theatre as do the dramatic roles - frozen in time as in the climax of kabuki scenes.
Yoshitoshi uses these devices to order his composition for maximum effect - focusing the eye on the terrifying aspect of the statue of the fire god Fudo Myo, now come to life, leaning over the child-like figure of Yuten Shonin, the novitiate priest.




One interpretation of this print (not helped by the title), is that the young priest is being assaulted by the monstrous demon, but this is incorrect. The piece is intimately tied up with Buddhist legend and some historical fact. Yuten Shonin (1637 - 1718) is an historical character. He studied at the temple in Zojoji, (where the scene is set) and became influential with the fifth Tokugawa Shogun and his mother.
He eventually became Abbot at the temple and an important Buddhist scholar. Fudo-Myo is one of the five “Kings of Wisdom" in Buddhist lore and is often attended by the goddess of mercy, Kannon - pictured here in the right hand sheet. The legend has it that the statue appears to Shonin as the living God, Shonin prostates himself and consumes the sword of wisdom, thereby gaining supernatural wisdom and enlightenment.
This act of consummation is the subject of the print. Yoshitoshi has pictured Fudo-Myo and Kannon before in a stunning vertical diptych which illustrates the mercy of the Gods to a penitent sinner.
- source : www.toshidama-japanese-prints.com

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The Exorcist: Yuten and Genroku Politics
Dr. Beatrice Bodart-Bailey, Lecture 2004-09-27

The Jodo sect monk Yuten Shonin (1637-1718) succeeded where others failed in freeing women from demonic possession by his gift of hearing the voices of vengeful spirits. His first spectacular success occurred in Kanbun 12 (1672) while attached as gakuso, or acolyte studying the scriptures, to a temple in Shimo-osa (present-day Chiba), the Iinuma Gukyōji. Yuten subsequently moved to the Zojo temple at Edo, but then, aged nearly fifty, he crossed his name off the temple register and spent the next thirteen years as a wandering monk. Yet even though he shunned religious status and affiliation, his impact on society was significant, and, as he attended the afflicted, the stories of his exorcisms began to circulate even in print.

Yuten came to be patronized by Keisho-in, the mother of the fifth Tokugawa shogun Tsunayoshi, who is said to have called on him in his hermit's hut on the outskirts of Edo. In Genroku 12 (1699) he was in unprecedented fashion summoned to Edo castle and promoted from being a lowly wandering monk to the position of head priest of one of the Jodo sect's eighteen major temples in the Kanto area. In samurai terms, his status had become equal to that of a daimyo with a fief of 100,000 koku. The following year he was further promoted by an appointment as head priest to the Iinuma Gukyoji temple in Shimo-osa, the very temple where he had performed his first famous act of exorcism. Finally in Hoei 1 (1704), he was placed in charge of Koishikawa Denzuin in Edo, a temple next in standing only to the Zojo ancestral temple at Shiba.

Unlike other priests who had risen under the fifth shogun and his mother, Yuten was not retired on the death of the fifth shogun. To the contrary: under the sixth shogun Ienobu, Yuten was promoted to one of the highest posts in the religious hierarchy, namely to the headship of Zojoji at Shiba. Even when at the age of seventy-six Yuten asked to retire, he was refused on the grounds that his brain was still in perfect working order. When he finally did retire, the sixth shogun established a temple for him in Meguro that still bears his name today.
- source : www.asjapan.org


. Shogun Tokugawa Tsunayoshi 徳川綱吉 .

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Yuutenji, Yūtenji 祐天寺 Yuten-Ji
東京都目黒区中目黒5丁目24番53号 - Nakameguro, Tokyo



In 1718 the 36th Buddhist monk of Zōjōji called Yūten died.
His disciple Yumi 祐海 built Yutenji as his last hermitage and made him the founder.

- Homepage of the temple
- source : www.yutenji.or.jp


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Yuuten 祐天(ゆうてん)
(寛永14年4月8日(1637年5月31日)- 享保3年7月15日(1718年8月11日))
とは、浄土宗大本山増上寺36世法主で、江戸時代を代表する呪術師。字は愚心。号は明蓮社顕誉。密教僧でなかったにもかかわらず、強力な怨霊に襲われていた者達を救済、その怨霊までも念仏の力で成仏させたという。



祐天は陸奥国(後の磐城国)磐城郡新妻村に生まれ、12歳で増上寺の檀通上人に弟子入りしたが、暗愚のため経文が覚えられず破門され、それを恥じて成田山新勝寺に参篭。不動尊から剣を喉に刺し込まれる夢を見て智慧を授かり、以後力量を発揮。5代将軍徳川綱吉、その生母桂昌院、徳川家宣の帰依を受け、幕命により下総国大巌寺・同国弘経寺・江戸伝通院の住持を歴任し、正徳元年(1711年)増上寺36世法主となり、大僧正に任じられた。晩年は江戸目黒の地に草庵(現在の祐天寺)を結んで隠居し、その地で没した。享保3年(1718年)82歳で入寂するまで、多くの霊験を残した。
祐天の奇端で名高いのは、下総国飯沼の弘経寺に居た時、羽生村(現在の茨城県常総市水海道羽生町)の累という女の怨霊を成仏させた累ヶ淵の説話である。この説話をもとに多くの作品が創作されており、曲亭馬琴の読本『新累解脱物語』や、三遊亭円朝の怪談『真景累ヶ淵』などが有名である。
© More in the WIKIPEDIA !

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Yuten Nembutsu-odori and more . . .
- further reference -


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



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. Japanese Legends - 伝説 民話 昔話 – ABC-List .

Yuuten Shoonin no rei 祐天上人の霊 The soul of Saint Yuten
The daughter of a kiseruya 煙管屋 pipe maker living in Odenmacho could not learn how to read or write.
One day the soul of Saint Yuten appeared to her and wrote rokuji no myoogo 六字名号 a Buddhist name of a dead person, with six letters for her.
This changed her life and now she could read and write.

. Odenmacho 大伝馬町 Chuo, Tokyo - Legends .



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26/07/2014

Katsukawa Shunko

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Katsukawa Shunkoo, Katsukawa Shunkō 勝川春好 Katsukawa Shunko

(1743-1812)



- quote
a Japanese artist who designed ukiyo-e-style woodblock prints and paintings in Edo (modern Tokyo).
He was a student of Katsukawa Shunshō, and is generally credited with designing the first large-head actor portraits (ōkubi-e). As his teacher, Shunkō used a jar-shaped seal and was known as kotsubo ("little jar").
At 45, the right-handed Shunkō became partially paralyzed and ceased designing prints, although he continued producing paintings with his left hand.
© More in the WIKIPEDIA !




CLICK for more photos !


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Battle of Kisoyamanaka

Battle scene centered around the Kiso Yoshinaka with
Fudo Myo-o and Tomoe Gozen.
Circa 1813
- source : www.robynbuntin.com


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



. Tomoe Gozen 巴御前 .
concubine of Minamoto Kiso Yoshinaka 木曾義仲.


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The Actor Onoe Matsusuke I
as a Mendicant Monk (Gannin Bozu)
in the Play Keisei Ide no Yamabuki,
Performed at the Nakamura Theater in the Fifth Month, 1787, c. 1787
source : Art Institute Chikago


. WKD : Handa Inari Shrine Festivals .
半田稲荷神社 


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24/07/2014

Ishihara Yoshisada

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Ishihara Yoshisada 石原良定
(1972 -   )



Born in Gunma.
1995 as student in Toyama, with Sunada Kiyosada 砂田清定

- source : www.butuzou-world.com






source : 仏像ワールド


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



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石原良定の木彫刻展 - Exhibition, 2010
at 太田市学習文化センター







- source : blogs.yahoo.co.jp/miyossy47


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Sunada Kiyosada 砂田清定
Born 1950
- source : inamichoukoku.com/sunada



. Buddhist Sculptors Gallery .


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30/06/2014

Ernst Tim Ernst

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Ernst Tim Ernst

- quote
Cartoonist Ernst captured ‘fish-out-of-water’ gaijin as they floundered

Having often been told by the Japanese that he would “never understand” their culture because he was not one of them, American cartoonist Tim Ernst decided to embrace this notion and deploy it creatively.

Ernst relocated permanently from California to Akita Prefecture in 1981, following an earlier stint as an English teacher in Yamagata Prefecture, where he met his wife of 34 years.
.
“I saw the opportunity here to create a character which kind of mirrored an adult version of Charlie Brown from ‘Peanuts,’ ” he says. “Once I established the character, I simply put him in situations I had experienced or was informed of by other gaijins who had.”
.
One of the editors at the paper introduced Ernst to Tomy Uematsu, a fan of “Gaijin” who had connections with the publishing department at The Japan Times.
With Uematsu’s help, Ernst was able to pitch the book version of “Gaijin” to The Japan Times, where it was subsequently accepted for publication.
.
The original “Gaijin” went through more than 30 reprints in the following years, including translations into Chinese and German, until the mid-2000s, when The Japan Times returned the copyright to Ernst.
- source : Japan Times, June 2014


ティム・アーンスト



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03/06/2014

Tomita Keisen

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Tomita Keisen 富田渓仙 
(1879-1936)



born in Hakata (Fukuota). His given name was Singoro. He studied the Shijo style of painting in Kyoto with Tsuji Kakō (1871-1931). He also studied Heian Buddhist painting and nanga (traditional Japanese painting). He exhibited in the official Bunten, Teiten and Inten exhibitions. Exhibited paintings with Saiko Nihon Bijutsuin (Reorganized Japan Fine Art Academy) in 1915, and became a member in 1916. He is credited with creating a new style of kacho-ga and was one of the foremost painters of his generation.
- source : www.myjapanesehanga.com/home


This print by Tomita Keisen (1879-1936) depicts the priest Mongaku atoning for his sins by standing under Nachi waterfall in winter. About to die, he is rescued by the god Fudo Myo-o (Buddhist Diety of Fire.)



The Story of the Priest Mongaku and the God Fudo
The priest Mongaku is referred to in Chikamatsu's 1714 bunraku play Fair Ladies at a Game of Poem Cards (Kaoyo Utagaruta). The character Takeguchi, who wishes to atone for his sins, invokes the story of Mongaku as follows:

"Well, let me follow the example of Mongaku, who took to the priesthood in consequence of the great love he bore a lady and in time was enabled to lead all his relations to the Pure Land. Life is after all but a dream; reputation and infamy illusions; hatred and compassion but reflections quivering upon the water. Let me hope that my mistake in love will prove to be but a first step on the path of spiritual enlightenment."

The story of the priest Mongaku is told in the unattributed play Nachi-no-Take Chikai no Mongaku, “The Priest Mongaku at the Waterall of Nachi".

Endo Morito, the son of a minor courtier became infatuated with the beautiful Kesa Gozen, the faithful young wife of Watanabe Wataru, a palace guard. She rejected his advances but he was so persistent that she pretended to agree to his proposal on the condition that he first kill her husband.

Kesa concocted a plan where Morito was to steal into Wataru’s room by night. That night, Kesa cut off her long hair and lay down in the darkness in her husband’s bed. At midnight Morito arrived and felt in the darkness until he found the sleeping figure. He immediately cut the head off and ran off. He was horrified to find that he had cut off the head of Kesa Gozen.

He renounced the world and became a monk. For three years he attempted to atone for his crime by the harshest austerities, standing under the icy Nachi waterfall in winter. He was frozen and about to expire, but was saved by Fudo Myo-o (Buddhist Diety of Fire, depicted with a sword in one hand and a rope in the other) and his Acolytes, Kongara and Seitaka.
- source : www.myjapanesehanga.com/home/artists


. Mongaku 文覚 Priest Mongaku .

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TOMITA KEISEN c. 1890.
Fudo appears in the dream of a young boy.
Partially restored print.

- source : hayato Tokugawa, facebook



. Fudō Myō-ō 不動明王 Fudo Myo-O
- Acala Vidyârâja - Vidyaraja .




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27/05/2014

Mongaku

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Mongaku 文覚 Priest Mongaku

遠藤盛遠 Endo Morito, c. 1120 – 1200


source : ameblo.jp/hanacat0322
Mongaku by Utagawa Kuniyoshi 歌川国芳 

- quote
Fudarakuji 
7-31, Zaimokuza 6-chome, Kamakura, Kanagawa 247-0013

Founding priest Mongaku was originally a samurai, Morito Endo by name, in Kyoto serving the Imperial Guards in the late 12th century. He fell in love with a married woman named Kesa. She was so beautiful and charming that he wanted to marry her by all means and proposed to her. His proposal was too persistent for her to decline. Kesa finally replied to him that she would marry him if he could kill her husband, and suggested to him that he visit Kesa's house at one designated night when the couple are asleep. Following her suggestion, Morito broke into her house the night. The person he killed, however, was not the husband but Kesa herself. Kesa had given him wrong advise by design and was in bed in disguise of her husband. She had preferred death to bigamy. Morito immediately took the tonsure for atonement and entered Jingoji in Kyoto, changing the name to Mongaku.

. . . Back at the time, Jingoji's fortune was on the wane with no patron. Priest Mongaku tried to meet with Retired Emperor Goshirakawa (1127-1192) to ask for financial aids. Goshirakawa gave him a flat refusal and did not even meet him. Outraged, Priest Mongaku snarled at the imperial court people with violence. As a result, he was exiled to the Izu Peninsula, where he got acquainted by chance with young Yoritomo Minamoto, the founder of the Temple and Kamakura Shogunate,

Priest Mongaku is said to have been the first aide for Yoritomo and helped re-organize the Minamoto ally. He urged Yoritomo to raise an army against the Taira Clan, Minamoto's arch-rival enemy, showing his father's skull. (His father was brutally killed by the Tairas). The Priest's persuasion encouraged Yoritomo to rise up against the Tairas and eventually led him to unify Japan. To reward him for his contribution, Yoritomo accepted his request to found the Temple. Naturally, the Temple served as a prayer hall for Yoritomo himself. Priest Mongaku's saga often appears in the ancient stories and was dramatized into Kabuki and Noh play.


source : MFA Boston

Fudo Myo-o, the Immovable, or Acala-vidyaraja in Skt.
This statue was reportedly made to force the Tairas surrender through invocation. The ritual was performed in front of this statue to conjure away the enemy. As the saying "Curses, like chickens, come home to roost" goes, so did Priest Mongaku's curse. He had to die an unnatural death several years later.
A Fudo Myo-o statue at NNM.

. . . Mongaku's tomb and slug festival
Priest Mongaku is reported to have been exiled to Sado island off the coast of Niigata Prefecture after Yoritomo's death. His whereabout afterward is unknown. One of his tombs is located in Gifu Prefecture, where legend asserts he died on his way from Sado back to Daiitokuji in Gifu, the temple he erected. Near the temple is his tomb, or a stone monument for him. A strange festival takes place here on July 9 (of lunar calendar) every year the day Kesa was slain by Morito. It is believed among villagers that on this day, score of slugs, all having a black line on their back, mysteriously gather here and crawl up the tomb stone. Locals believe that the slugs are transformation of Kesa and the black lines of the slugs are the scar made by Morito's sword. Kesa must have appeared before Morito in adoration of his success (some say in curse of his cruel behavior). At least two authors novelized the story relating to Kesa and Morito: Ryunosuke Akutagawa (1892-1927) and Kan Kikuchi (1888-1948).
- source : www.asahi-net.or.jp


. Fudō Myōō 不動明王 Fudo Myo-O
- Acala Vidyârâja - Vidyaraja .


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- quote
Ichiyusai KUNIYOSHI (1797 – 1861)
A fine and very rare vertical triptych of Mongaku ( Endo Morito, c. 1120 – 1200 ) subjecting himself to three years penance as a Buddhist monk beneath the waterfall of Mount Nachi in Kii Province. Morito inflicted this punishment on himself because he had inadvertently cut off the head of Kesa Gozen, the wife of the palace guard Watanabe Wataru, with whom he was in love.



At the top of the design is Fudo Myo-o, the guardian deity of waterfalls, and at the bottom and top right are Seitaka and Kongara ( doji of Fudo ). This subject lends itself to some wonderful designs: See this website for a rare horizontal triptych by Yoshitoshi , and there are many single sheets by various artists. The vertical triptych format is rare: It was more convenient to view prints in the horizontal and it was difficult to insert into albums, the top sheets having to be heavily trimmed to fit.
- source : www.japaneseprints-london.com


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The Story of the Priest Mongaku and the God Fudo

. Tomita Keisen 富田渓仙 (1879-1936) .


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- - - - - H A I K U - - - - -

MONGAKU, Priest Mongaku 文覚(もんがく)
July 20. 保延5年(1139年) - 建仁3年7月21日(1203年8月29日)

Mongaku Ki 文覚忌 (もんがくき) Mongaku Memorial Day
Moritoo Ki 盛遠忌(もりとおき)Moritoo Memorial Day

. Memorial Days of Famous People - Autumn Kigo .



冷麦喰ふ僧は文覚の行にさも似たり
hiyamugi kuu zoo wa Mongaku no gyoo ni samo nitari

the monk who eats
chilled wheat noodles resembles
priest Mongaku in his asceticism . . .


. Masaoka Shiki 正岡子規 .


Hiyamugi 冷麦 (ひやむぎ) Wheat noodles chilled
on ice and served with a dipping sauce
hiyashi mugi 冷し麦(ひやしむぎ)
kirimugi 切麦(きりむぎ)
. WKD - kigo for all summer .

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26/05/2014

Kobayashi Jiro

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Kobayashi Jiro Kobayashi



FUDO ~ GUARDIAN GOD by Jiro Kobayashi, dated c. 1970.

- source : Hayato Tokugawa, facebook




. Fudo Myo-O 不動明王 Acala Vidyârâja Introduction .


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20/05/2014

Nakamura Teijo

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Nakamura Teijo 中村汀女

1900年(明治33年)4月11日 - 1988年(昭和63年)9月20日)
(1900-1988)




- quote
eigentlich Nakamura Hamako (中村 破魔子) war eine japanische Haiku-Dichterin der Shōwa-Zeit. Sie war Ehrenbürgerin der Stadt Kumamoto.

Nakamura Teijo wurde am 11. April 1900 als einzige Tochter von Saitō Heishirō (斉藤 平四郎) und dessen Frau Tei (テイ) im Dorf Ezu, ehemaliger Landkreis Hōtaku (heute ein Teil der Stadt Kumamoto), Präfektur Kumamoto geboren.

1912 besuchte sie die Mädchenoberschule (heute die Erste Oberschule) der Präfektur Kumamoto und beendete 1918 den Zusatzkurs derselben Lehranstalt. 1920 heiratete sie den aus Kumamoto stammenden Finanzbeamten Nakamura Shigeki (中村 重喜) und reiste mit diesem im Zuge beruflicher Versetzungen von Ort zu Ort im Land umher.

1934 wurde sie Mitglied im Kreis der Haiku-Zeitschrift Hototogisu und veröffentlichte ihre erste Haiku-Sammlung Shunsetsu (春雪, dt. „Frühlingsschnee“).

1947, nach dem Zweiten Weltkrieg, gründete sie die Haiku-Zeitschrift Kazabana (風花, dt. etwa „Schneeflocken - Blumen im Wind“).

Nakamura Teijo bewunderte Sugita Hisajo und soll dieser zur Bekundung der Verehrung sogar Briefe („Fanpost“) gesendet haben. Sie wurde 1980 zum Bunka Kōrōsha, zur Person mit besonderen kulturellen Verdiensten, ernannt.
© More in the WIKIPEDIA !




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She is one of the four famous T in the Haiku world

Hashimoto Takako 橋本多佳子
Hoshino Tatsuko 星野立子
Mitsuhashi Takajo 三橋鷹女

There name literally means "hawk woman".

. WKD : Mitsuhashi Takajo 三橋鷹女.


Chataku 茶托saucers for tea cups
Teijo, Haiku tr. by Gabi Greve


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ゆで卵むけばかがやく花曇り
yude tamago mukeba kagayaku hanagumori

Boiled egg
Freshly peeled and shining
in the spring haze


Teijô Nakamura (1900-1988) was born in Kumamoto Prefecture. In 1947, she founded the haiku magazine Kazabana, and in 1984, she received the prestigious Japanese Art Academy Award in the Literature Division for Japanese poetry.

- source : theartoftravel.net

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- quote

to nimo de yo fururu bakari ni haru no tsuki

come outside too
just to see
this spring moon

come out everyone
almost close enough to touch
the spring moon

~

todomare ba atari ni fuyuru tonbo kana

now I’ve stopped
the air is filling
with dragonflies

~

I close the screen doors —
fallen leaves quietly end
this very day

withered lotus leaves
some broken, some not,
float on the spring water

~

The season of changing clothes
For summer; I see a bridge
not so far away


- source : thegreenleaf.co.uk

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12/05/2014

Kawabata Yasunari

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Kawabata Yasunari 川端康成 Yasunari Kawabata
(14 June 1899 – 16 April 1972)


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Japanese short story writer and novelist whose spare, lyrical, subtly-shaded prose works won him the Nobel Prize for Literature in 1968, the first Japanese author to receive the award. His works have enjoyed broad international appeal and are still widely read.
Yasunari Kawabata was awarded the Nobel Prize for Literature on October 16, 1968, the first Japanese to receive such a distinction.
© More in the WIKIPEDIA !

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Yasunari Ki 康成忌 memorial day for Yasunari
kigo for late spring

. WKD : Memorial Days of Famous People .



source : blog.ginsuzu.shop-pro.jp

川端康成学会主催 - April 2011 - 川端康成と源氏物語 Kawabata and the Genji Monogatari


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Yasunari Kawabata’s cultural mementos from Showa era found
A collection of more than 100 flyers and pamphlets for concerts, exhibitions and stage performances has been discovered in the former residence of Nobel Prize-winning author Yasunari Kawabata in Kamakura, Kanagawa Prefecture.
Kawabata (1899-1972) is believed to have collected the items in the early Showa era (1926-89), when he enjoyed a modern, urban life, showing an interest in changing trends.

It was around that time that he published “Asakusa Kurenai-dan” (The scarlet gang of Asakusa), a novel set in Tokyo’s Asakusa district.
The newly discovered materials, which are widely varied, are expected to shed light on some unfamiliar parts of society from that era.



... Though Kawabata is generally seen as an author who loved traditional Japanese beauty, he was a founding member of a new school of writers known as neo-perceptionists.
After moving to Ueno for six years in 1929, he frequented Asakusa until he moved to Kamakura.
- source : The Yomiuri Shimbun - May 2014


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A Shino chawan (tea bowl) figured prominently in Yasunari Kawabata's masterpiece novel, "A Thousand Cranes." 千羽鶴


荒川豊蔵と川端康成の二人は「志野を世に広めた功労者」


source : www.echna.ne.jp/~bunden

Arakawa Toyozoo 荒川豊蔵 Arakawa Toyozo (1894 - 1985) Shino potter

. Shino pottery 志野焼 Shinoyaki .


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mukashidoofu むかし豆腐 old-fashioned tofu
Made by the shop Morika 森嘉(もりか)near Shakado Hall (Seiryo-ji Temple), Saga Kyoto



It is made with sumashi-ko すまし粉, sekko, a kind of calcium sulfate instead of nigari. This dates back to a time after the war when they could not get any real nigari and had to find a substitute.
The store uses only the old equipment and all is made by hand.
Kawabata Yasunari was fond of this hard tofu.

. Tofu from Saga 嵯峨, Kyoto .

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Here is a mysterious story I heared in a temple in Kamakura:

For special exorcistic rituals of esoteric Buddhism heated oil is poured over a Buddha statue. The statue in question was a secret statue, so the Kakebotoke substitue had to be used. Since the Kakebotoke statue of this temple had just been newly made and was quite pretty, the priest wanted to spare it this fate. He decided to reflect the statue in a mirror and poor the heated oil over the mirror. It seems the Gods accepted this sacrificial offer of a substitute with another substitute and peace returned to the poor soul for which the ritual was performed.

You want to know why this ritual had to be performed?
Well, that brings us into the realm of the Ghost Stories of Lafcardio Hearn (Kwaidan, 怪談), but here it is:

During the early Edo period, a young woman who lived in Kamakura close to this tempel had made a wish to the powerful god of this particluar temple to grant her a child. She soon gave birth to a beautiful baby boy, but died shortly after that. Since it is the custom to go back to the temple and thank the god for a granted favor (o-rei mairi お礼参り), she could not perform this ceremony and her poor soul was hanging in limbo for quite a while.

Just after World War II another woman, Mrs. K. who lived close to the temple, started to have the same dream every night: A young woman appeared at her pillow, telling her the above story and asked her to have a ritual performed to pacify her soul. "If you help me, I will show my gratitude for your act!" the young woman promised. So, after consulting with the temple priest, the ritual to pacify the soul of the young mother was performed - with the hot oil on the mirror to substitute for the substitute, but the god was pacified anyway and the soul of the young woman could proceed to heaven. She appeared just one more time at the pillow of Mrs. K., thanked her again and promised to do something good for her.

Now, you ask, what good did she do for Mrs. K?

Well, her husband received the Nobel Prize!

. kakebotoke 懸仏 votive plaques .


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- - - - - H A I K U - - - - -

緋鯉浮く池の小さし康成忌
higoi uku ike no chiisashi Kawabata ki

golden red carp
swim in the small pond -
Yasunari memorial day


Okada Soozoo 岡田壮三 Okada Sozo (1913 - )


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- Reference - 川端康成 -

- Reference - Yasunari Kawabata -


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