29/11/2014

Shinnen and the Henro Trail

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Saint Shinnen Hoshi 真念法師
宥弁坊真念 Yuben-bo Shinnen


active around 1680.

His life work was to bring back life to the Henro pilgrimage in Shikoku by erecting more than 200 stone markers
四国遍路道指南(みちしるべ) Shikoku Henro Michi Shirube
and writing a travel guide, published in 1687.
He was also the first to add the numbers from 01 to 88 to the temples on the road
and erecting stone markers.

They are all about 77 cm high and rounded at the top.
The stone comes from Hyogo prefecture, go-eiseki 御影石, kakoogan 花崗岩 granite. They have been transported by ship to Shikoku and put in place with great diligence and effort by Shinnen.
Since the stone markers are mentioned in his book, he must have been putting them up before that, around 1680.
Before this, the Henro pilgrims have mostly been monks on their quest for Buddhism.
But after Shinnen published his book, more lay people began making this long pilgrimage.



stone marker in Sakaide town 坂出市青海町

39 (or 37) of his stone markers have not yet been found.
Now there is a group to study his lifework
四国遍路道学術調査研究会
click on any of the 24 entries to see a stone marker in detail with a map:
- source : www.shikoku-np.co.jp/feature


玉垣に隠れて建つ真念の道標
観音寺市八幡町 at Kannonji tonw, Hachiman village
琴弾八幡神社 near Kotohira Hachiman Jinja



inscription
「左遍ん路みち 願主(ねがいぬし)

真念はその中で八十八カ所とそのルートを示し「四国遍路」の原型を示した。「八十八」という言葉は、真念以前の巡拝記にも見られるが、札所ごとに一番から八十八番までの番号を付けたのは真念であり、四国八十八カ所を創った人物と言える。
- source : www.shikoku-np.co.jp



真念の標石発見/江戸前期遍路解明史料に
a stone marker from Kagawa prefecture, Marugame town
- source : www.shikoku-np.co.jp/kagawa_news


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真念法師の旧お墓跡(高松市牟礼町塩屋)昭和55年2月 洲崎寺に移された
His grave in Takamatsu



真念庵(高知県土佐清水市下ノ加江市野瀬)
Shinnen-An 真念庵 a kind of shelter he erected for the lay pilgrims.



- at Takamatsu 香川県高松市亀水町

List of 37 stone markers
真念法師の道標(37基)詳細へ
- source : kukai1944.web.fc2.com/douhyou_sinnenhousi

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真念庵(しんねんあん) Shinnen-An - Bangai 番外札所 01
located at the Ashizuri Henro Trail あしずりへんろ道.
There is nobody in charge there, so the villagers of the nearby village at the foot of the mountain offer a stamp for the pilgrim's stamp book (and often some o-settai refreshments).
- - - More in the WIKIPEDIA !

erected aroung 天和年間(1681 - 83)by 宥弁坊真念



- take a virtual walk along the Ashizuri Henro Trail toward Shinnen-An
- source : d.hatena.ne.jp/boianuf



The pilgrim's stamp of Shinnen-An 納経印
Since it is given by a lay person of the village, there is no brush inscription, only some stamps in black and red.






納経印は墨印部分のみ二種類ある。通常は左のものであろう。墨印の文字は「奉納経 〔地蔵菩薩の種字「カ」〕本尊地蔵薩 〔梵字の「カン」?〕弘法大師 土佐幡多足摺打戻 市ノ瀬山 眞念庵」。
朱印は右が「日本第一霊場」、中央上が弘法大師の絵像に「大正三年土佐眞念菴千百年紀念印」(弘法大師による四国霊場開創千百年のことであろう)、中央下は宝珠に地蔵菩薩の種字「カ」、左下は「土佐ハタ一ノセ山眞念菴」。
右のものの墨印部分は「奉納経 本尊地蔵大士 土州幡多郡市瀬山 眞念菴」。
- source : goshuin.ko-kon.net/shikoku88


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「四国遍路道指南」 Shikoku Henro Michishirube
という江戸時代のガイド本を元に、俳優・西岡徳馬と娘・優妃が四国遍路を旅する。

Father and daughter Nishioka are walking along the Shikoku Henro path.
According to the diary of Shinnen.



- source : www.nhk.or.jp/matsuyama/henro1200


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Making Pilgrimages: Meaning And Practice in Shikoku
By Ian Reader
- google here for the parts about Shinnen :
- source : books.google.co.jp


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荒井とみ二 / 「遍路図絵」

四国遍路関連古書 List of old books about the Henro trail
from 承応2年 - 1653
澄禅 - 「四国遍路日記」 - 宮崎忍勝
to 平成18年 - 2006
- source : www5a.biglobe.ne.jp/~outfocus/eurail


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. General Henro Information - My Introduction .
四国お遍路さん Henro Pilgrims in Shikoku

to 88 temples in honor of Kobo Daishi Kukai




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28/11/2014

Harada Kai shogo

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Harada Kai 原田甲斐
Harada Kai Munesuke 原田甲斐 宗輔


(元和5年(1619年) - 寛文11年3月27日(1671年5月6日))
(1619 - 1671)




They found the "black box" of Sendai later in the Meiji period.
『伊達の黒箱』



with signatures of the main characters of the "Date Disturbance".
source : blogs.yahoo.co.jp/m_rosso04


- quote
Date Soodoo, Date Sōdō 伊達騒動 Date Sodo - Date Disturbance

a noble family dispute within the Date samurai clan, which occurred in 1671.

- - - - - History
In 1660, the daimyō (feudal lord) of the Sendai Domain, and clan head, Date Tsunamune was arrested in Edo, for drunkenness and debauchery. The charges are generally believed to have been true, but the arrest was probably encouraged heavily by certain vassals and kinsmen in the north. These vassals and kinsmen appealed to the Council of Elders in Edo that Tsunamune was not fit to rule, and that his son Date Tsunamura, great-grandson of Masamune, should become the daimyō. Thus, Tsunamura became daimyō, under the guardianship of his uncles, Date Munekatsu and Muneyoshi.

Ten years of violence and conflict followed in the domain, reaching a climax in 1671 when Aki Muneshige, a powerful relative of the Date, complained to the shogunate of the mismanagement of the fief under Tsunamura and his uncles. The Metsuke (Inspector) for the region attempted to deal with the situation, and to act as a mediator, but was unsuccessful against Aki's determination.

The Metsuke reported back to Edo, and Aki was soon summoned there to argue his case before various councils and officials, including the Tairō Sakai Tadakiyo and members of the Rōjū council. Following his arrival on the 13th day of the second lunar month, he met with and was interrogated and examined, as were several other retainers of the Date on both sides of the dispute. One retainer in particular, a supporter of Tsunamura and his uncles, by the name of Harada Kai Munesuke made a particularly poor impression in his meetings, and is said to have left the interrogation in a sour mood.

Towards the end of the month, all the Date retainers involved were summoned to the Tairō's mansion for a further round of questioning. It is said that over the course of the day, Harada grew increasingly distressed as he realized the extent to which his answers clashed with those of Aki Muneshige. According to one version of events, Harada, following a series of questions, was waiting in another room when Aki came in and began to shout insults at him. Swords were then drawn, and Aki was killed. Harada was killed moments after, by the officials or their guards.

A trial was soon held, the murder being made a more severe crime for having been committed in the home of a high government official. The official verdict was that Harada drew first, and the punishment was severe. The Harada family was destroyed, Harada's sons and grandsons executed, and though Tsunamura was affirmed as the proper daimyō, his uncles were punished. Aki was judged to be a paragon of loyalty, and no action was taken against his family.

This story inspired a number of cultural productions, most notably the jōruri (puppet theater) play, later adopted into kabuki, Meiboku Sendai Hagi, by Chikamatsu. In this production, as in many other retellings of the tale, Harada is undoubtedly the villain, Aki the hero. Historians, however, are skeptical about the accuracy of this black-and-white approach, and claim that there were likely other elements to the narrative which are not clear from the formal records. One side or the other in the dispute may have bribed government officials in order to affect the government's handling of the situation, and it is known that Sakai Tadakiyo was a friend of Tsunamune, thus perhaps altering the shogunate's behavior in this matter further.
- - - More in the WIKIPEDIA !

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. Masaoka and Tsuruchiyo 政岡と鶴喜代 .
Meiboku Sendaihagi 伽羅先代萩 "The Disputed Succession"

This is based on the troubles in the Date family of the Sendai clan in the Edo period. It tells the story of Nikki Danjo, the regent for the Ashikaga family in Oshu, who conspires with his younger sister Yashio to take over the Ashikaga family.


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- Kabuki -

Jitsuroku Sendai Hagi 実録先代萩
Hototogisu Date no Kikigaki 早苗鳥伊達聞書



- - - - -  History
Kawatake Shinshichi II's drama "Hototogisu Date no Kikigaki" was premiered in June 1876 at the Shintomiza. Some roles names were changed later on: Katagiri Kojûrô, Masaoka, Serada Kai, Asahino Yagorô and Matsugae Tetsunosuke became Katakura Kojûrô, Asaoka, Harada Kai, Asahina Yatarô and Matsumae Tetsunosuke.
The title "Jitsuroku Sendai Hagi" was used for the first time in May 1893 in Tôkyô at the Fukanoza.

Summary
Harada Kai, a Date vassal, and his confederates are plotting to usurp the power and position of the young leader of the clan, Kamechiyo. They have attempted to poison him, but their efforts have so far been thwarted by those loyal to the boy, particularly his menoto, Asaoka. She is keeping a close watch over him in the inner, women's quarters of the Date mansion. A senior retainer in the Date household, Katakura Kojûrô, warns Asaoka that the day of a retaliatory strike against Harada and the other conspirators is near. Asaoka is relieved to hear it, but she continues to keep a close watch over her charge.

Asaoka also has a small son of her own, Chiyomatsu, whom she deliberately left behind in Sendai, the better to protect the little lord of the Date clan. But Kojûrô has brought Chiyomatsu with him. Asaoka's devotion to Kamechiyo and her determination to protect him are so strong that she refuses to recognize her own son. Fearing that any relaxation of her guard will expose Kamechiyo to danger, she orders her son to be taken back to Sendai. Kamechiyo has been lonely, however, and welcomes Chiyomatsu as a playmate. This makes it all the more difficult for Asaoka to send her son away.

Katakura has been watching all this from a neighboring room. He enters and commends both Asaoka and her son for their loyalty towards Kamechiyo. He then leaves, taking Chiyomatsu with him. Left alone, Asaoka gives way to her feelings and expresses her grief at the departure of her beloved son. At that moment, however, the alarm is raised following the death by poisoning of one of those required to taste Kamechiyo's food. Asaoka takes a grip on herself and resumes her watch over the boy.
- source : www.kabuki21.com


- quote
Meiboku Sendai Hagi
We eat o-hagi(or botamochi) at Higan in spring and autumn. It's called ohagi in the season for hagi(萩:Lespedeza or Japanese bush clover).
snip
Chinese characters "伽羅" are commonly read "kyara." Kyara(伽羅, aloes-wood) is a high-quality agarwood(沈香, jinkou). The 3rd lord of the Sendai clan went to brothels very often, wearing precious wooden clogs made of aloes-wood.
Sendai Hagi (先代萩) comes from the former(先代, sendai) lord's favorite Lespedeza buergeri(木萩, kihagi). 
By the way, there is a sequel to the incident.
In 1923, a covenant under joint signatures was discovered In the attic of a temple. The covenant says that a Buddhist memorial service for the chief retainer was held at the temple six years after his death and 139 of his former retainers attended it. Memorial service for him has been held at the temple every year.

The name of the chief retainer is Harada Kai (原田甲斐), who is named Nikki Danjou  (仁木弾正) in the play. He gets categorized as a devil in the play, but there are strong doubts about whether Harada Kai who endeared him to many people was a villain.

Many people gather from the covenant that there were complicated circumstances behind the incident.
- source : ichinen-fourseasonsinjapan


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Harada Kai Date sōdō o suiri suru 原田甲斐 伊達騷動を推理する
book by 川野京輔 Kyōsuke Kawano




伊達騒動と原田甲斐 (1970年) Date Sodo to Harada Kai
by 小林清治




source : hakuzou.at.webry.info
momi no ki wa nokotta 樅の木は残った
by 山本周五郎 Yamamoto Shugoro

Yamamoto san tries to portrait Harada Kai as the savior of the Date clan, who took the blame for the intrigues on himself and died a silent hero.


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Katakura Kagenaga 片倉景長 
(14/05/1630 - 09/07/1681)

A senior retainer of the Date clan of Sendai, and the lord of Shiroishi Castle, Katakura Kagenaga played a major role in containing the Date Incident of the 1660's.

In 1660, the 20-year-old daimyo of Sendai, Date Tsunamune, was arrested in Edo for drunkenness and debauchery. His relatives and a number of his vassals then petitioned to have him removed from his position and be replaced by his one-year-old son, Tsunamura. The child was by then under the guardianship of his two uncles, Munekatsu and Muneyoshi, who had apparently manipulated the succession for their own ends.

In the following ten years, poor administration by the two uncles led to great civil unrest, and a number of violent uprisings involving the Date clan samurai, townsfolk and peasantry. In an effort to quell the uprisings and restore law and order within the Sendai Han, a high ranked relative of the Date clan, Aki Muneshige made a formal complaint to Edo in 1681. The matter was thoroughly investigated following the scandalous murder of Aki Muneshige, by another top ranked official, the corrupt Harada Munesuke, who killed Aki in order to hide his own involvement in the affair. Once the inspectors sent from Edo uncovered the incidents, the two uncles, Munekatsu and Muneyoshi were eventually punished.

As caretaker for the young Date Tsunamura, and as Karo, or chief retainer Katakura Kagenaga took the initiative to invoke emergency action at the peak of the incident, and bringing the domain to order, prevented further troubles, which kept the domain, and more importantly, the Date clan from political ruin. Katakura resigned his post shortly after the incident was resolved. He died July 9, 1681, aged 50.

- source : Samurai History - facebook -

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- Reference - Japanese -
- Reference - English -

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16/11/2014

Orimoto Kakyo

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Orimoto Kakyoo 織本花嬌 Orimoto Kakyo
(1736 - 1741)

Born in Nishikawamura (now Futtsu) 旧西川村(現在富津市西川) father was 小柴庄左衛門.
Married to the headman of 旧富津村, 織本嘉右衛門 Orimoto san.
Her haikai name was 対潮庵 Taicho-An.
Her husband's haikai name was 砂明 Samyo.
Her brother's haikai name was also Samyo.
Both were priests at the temple 金華山華蔵院 Keso-In in Kanaya.
This temple is Nr. 13 at the pilgrimage to 33 Kannon Temples in Kazusa, Chiba.新上総国三十三観音札所


She was friends with Kobayashi Issa, 雪中庵蓼太 (大島蓼太 Oshima Ryota) and other haijin of her times.

In February of 1798, she had a memorial stone for Matsuo Basho placed at 鹿野山神野寺 Jinja-Ji.
最中の桃のなかより初さくら

On the 2nd day of the 7th lunar month in 1804, Issa came to Kisarazu and then to 富津 Futtsu in Chiba.
Issa wrote

秋立や身はならはしのよ所[の]窓
aki tatsu ya

On the 6th day of the 2nd lunar month in 1808, Issa sent a letter to Kakyo:

On the third day of the fourth lunar month in 1802, Hakyo died.
Her grave is at the temple 普戴山大乗寺 Daijo-Ji in Futtsu.

On the 13thd ay of the 7th lunar month, Issa visited her grave and later the Orimoto family, where he stayed for a while.


艸花やいふもかたるも秋の風

蕣(あさがお)の花もきのふのきのふ哉



- - - Poems by Kakyo 花嬌の句

袷着て白き扇子のはつ音哉
『蕉翁百回追遠集』

鳥遊べ初手の時雨ハ木隠るゝ
『遠ほととぎす』

冬枯や中(仲)よく見ゆる三軒家
『名なし草紙』

庵の夜をくるりくるりと螢かな
『世美冢』

春風や女ぢからの鍬にまで
『三韓人』

名月や乳房くはへて指して
『たねおろし』


- reference : members.jcom.home.ne.jp/michiko328

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今来たと顔を並べる乙鳥哉
ima kita to kao o naraberu tsubame kana

lining up
with newcomers' faces...
swallows

David Lanoue

Mrs. Kakyo Orimoto was Kobayhashi Issa’s haiku student as well as reliable sponsor.
1810 July she died, he knew it but couldn’t attend her funeral ceremony.
After two years on her memorial day, he came to her tomb to pray for her soul.

- source : Nakamura Sakuo


. Kobayashi Issa 小林一茶 in Edo .


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a girl welcomes her grandmother's returning soul --

赤紐の草履も見ゆる秋の夕
aka-himo no zoori mo miyuru aki no yuu

autumn evening --
sandals appear
with red thongs


This hokku is from lunar 7/13 (August 12) in 1810, the hundredth day after the death of Orimoto Kakyou (織本花嬌, hereafter Kakyo), a well-known haikai poet married to a village headman in the area east of Edo. She was one of Issa's most enthusiastic and talented supporters, and Issa must have been deeply grieved when he learned she had died on 4/3. He was traveling at the time, but later he took a boat east across Edo Bay and attended the important hundredth-day requiem service for her at Daijoji, a Buddhist temple of the Pure Land school founded by Honen. On the hundredth day a soul was believed to become a "Buddha," since it had decisively left this world and had entered the other, where it was now on its way to liberation or to the Pure Land.

This hokku is the third Issa wrote on the day of the Buddhist requiem service for Kakyo. It is thought to refer to Kakyo's granddaughter, a budding haikai poet who was being tutored by Kakyo. The age of neither Kakyo nor her granddaughter in 1810 is known, but the granddaughter must have been fairly young, since she is still wearing sandals with red thongs. In the midst of all the dark colors no doubt worn by the other people at the service, Issa seems to regard the granddaughter's red sandal thongs to be a small but strong assertion of the power of life and rebirth. Issa had no doubt met the granddaughter earlier when he visited Kakyo's house to lead haikai meetings there, so he may take the red thongs, which seem to stand out in the dim lantern light, to be a sign that Kakyo's creative spirit still lives on in the haikai and the flamboyant assertion of color by her protege, her granddaughter.

In once sense the red sandal thongs may literally refer to Kakyo's return to this world. The headnote, the red color, and the night setting all seem to indicate that this hokku is not about the requiem service but about a later ceremony that evening to welcome Kakyo's soul back to the world of the living. The date of the requiem for Kakyo happens to be the day before the beginning of the very important half-Buddhist, half-shamanic Bon Festival of Returning Souls held on lunar 7/14-16, that is, at the time of the first autumn full moon. It is an evening on which almost all families, especially those with a death during the previous year, pray to the souls of their loved ones, welcoming them and asking them to return and spend the next three days with them.

To welcome the souls, relatives carry lanterns from their houses to the person's grave, and there they place at least one lantern to show the soul the location of the grave. After making welcoming prayers, each family, still carrying lanterns, guides the soul back to its former house. Similar ceremonies are carried out at graves at the end of the festival, when visiting souls are sent off on the evening of lunar 7/16. Kakyo's grave is in Daijoji Temple, where the requiem was held earlier in the day, so lanterns would probably be placed near her grave while relatives and friends welcome her returning soul, which has only recently entered the other world. The red worn by Kakyo's granddaughter may literally seem to Issa to indicate the color of life, and he may believe with others at the grave that Kakyo's soul is alive and temporarily among them once more. Could Issa be seeing a double vision of Kakyo's granddaughter and of the young Kakyo herself, once more young? That would explain why he stresses "visible" or "appears."

Kakyou's husband died in 1794, and she did not remarry, but as the widow of a powerful village headman, she could not have felt free to have affairs with other men. In spite of the class distance between Kakyo and the lowly Issa, however, many commentators are fond of stating that Issa must have deeply but platonically loved the older Kakyo, who became his secret love throughout his life. There is no evidence to either support or disprove this perennial theory, and Issa's main requiem hokku for Kakyo, also written on 7/13 and placed two verses before the above hokku in his diary, is supremely ambiguous:

wildflowers,
what you say and tell --
autumn wind


kusabana ya iu mo kataru mo aki no kaze

The haikai name Kakyo means Beauty of Flowers (or Floral Beauty), so Issa seems to be addressing both the autumn flowers of the fields around him and Kakyo's soul. Of course the wildflowers also suggest Issa -- as well as an imagistic overlap of Issa with Kakyo -- so Issa may be indirectly identifying himself with Kakyo here. Autumn wind is traditionally a sad and lonely image, and even the flowers now speak its language, though they may be saying other things as well which will never be explicitly uttered.



source : kyoto-brand.co
An image of Rokuharamitsuji Temple in Kyoto, with soul-welcoming fires and a statue of the merciful bodhisattva Kannon




source : blog-imgs-36-origin.fc2.com/h/a/n/hanpei
Fires lighting the way for souls from a graveyard to a village



source : blog-imgs-35.fc2.com/k/h/s/khsjapan
Soul-welcoming fires at individual houses

Chris Drake

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- Reference - Japanese -


. Introducing Japanese Haiku Poets .

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05/11/2014

Toyama Kagemoto

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Tooyama 遠山景元 Toyama Saemon no Jo Kagemoto
(1793 – 1855)
生誕 寛政5年8月23日(1793年9月27日)
死没 安政2年2月29日(1855年4月15日)
(September 27, 1793 – April 15, 1855)



Tōyama Kagemoto (遠山景元) Kinshiro 金四郎
a hatamoto and an official of the Tokugawa Shogunate during the Edo Period of Japanese history. His ancestry was of the Minamoto clan of Mino Province. His father, Kagemichi 遠山景晋, was the magistrate of Nagasaki.
Kagemoto held the posts of Finance Magistrate, North Magistrate, and subsequently the South Magistrate of Edo. (The magistrates of Edo acted as chiefs of the police and fire departments and as judges in criminal and civil matters.)

(Edo machibugyoo, machi bugyoo 町奉行 magistrate of Edo)

As North Magistrate, his opposition to South Magistrate Torii Yōzō and Rōjū Mizuno Tadakuni won him popularity. In 1843, he was ousted from his position as North Magistrate through the machinations of Torii, and although nominally appointed Ōmetsuke, was out of power. Two years later, when Mizuno ousted Torii, Tōyama received an appointment as South Magistrate, a post once held by Ōoka Tadasuke.

Tōyama's rose to the Lower Junior Fifth rank with the name Tōyama Saemon no Jō Saemonnojo.
© More in the WIKIPEDIA !




His father had adopted another boy of the family for his heir, so Kinshiro in his youth had no prospects for a good future and spent a lot of time in the pleasure quarters of Edo.
During that time he might have acquired some tatoo like the men of the city used to favor.
Only when the family heir died at an early age Kagemoto became the head of the family and started his career as a governor of Edo.

When his superior Mizuno tried to relocate the three Kabuki theaters to a far-away location, Toyama intervened on behalf of the people, since Kabuki was one of their few leisure activities at that time in Edo.

His real fame came later, when the Kabuki world was paying him back for his benevolence with a play in the Meiji area and the kodan story tellers took up the subject.
And with the advent of TV series and movies, he became a real star in Japan.

His grave at temple Honmyo-Ji in Tokyo
遠山金四郎景元の墓 - (東京都豊島区巣鴨五丁目・本妙寺)


- - - More in the WIKIPEDIA !


. 江戸の名奉行 Famous Bugyo Magistrates from Edo .


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Three leisure acitivites in Edo
Sumo, Kabuki and the Pleasure quarters - having a drink together

遠山金四郎 - 誰も知らなかった桜吹雪

江戸の三代娯楽(相撲、歌舞伎、吉原)を描いた勝川春好の錦絵



- source : おおえど.com


. Edo Sanza 江戸三座
the three famous Kabuki theaters of Edo .

with a special permission from the city government (町奉行 machi bugyoo).

堺町・葺屋町 Sakai Machi
木挽町 Kobiki choo
猿若町 Saruwaka choo. later renamed Nakamura-za


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CLICK for more photos of the actors !

Tōyama no Kin-san (遠山の金さん)
is a popular character based on the historical Tōyama Kagemoto, a samurai and official of the Tokugawa Shogunate during the Edo Period of Japanese history. In kabuki and kōdan, he was celebrated under his childhood name, Kinshirō, shortened to Kin-san. He was said to have left home as a young man, and lived among the commoners, even having a tattoo of flowering sakura trees on his shoulder. This story developed into a legend of helping the common people.

The novelist Tatsurō Jinde (陣出達郎) wrote a series of books about Kin-san. Noted actor Chiezō Kataoka starred in a series of eight Toei jidaigeki films about him. Several Japanese television networks have aired series based on the character. These variously portrayed him pretending to be a petty hood or a yojimbo samurai while solving crimes as the chief of police.

People famous for having portrayed Kin-san on television include kabuki stars Nakamura Umenosuke IV and Ichikawa Danshirō, singers Yukio Hashi and Teruhiko Saigō, and actors Ryōtarō Sugi, Hideki Takahashi, Hiroki Matsukata, and Kōtarō Satomi.
Saigō and Satomi portrayed Kin-san in the series Edo o Kiru.
- - - More in the WIKIPEDIA !


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Edo o Kiru 江戸を斬る Slashing Edo



a popular jidaigeki on Japan's Tokyo Broadcasting System.
During the decades from its September 24, 1973 premiere until the July 25, 1994 finale, 214 episodes aired. It lasted through eight series, with several casts and settings. It ran on Monday evenings in the 8:00 – 8:54 prime time slot, sponsored by National, and remains popular in reruns.

The first series featured popular actor Takewaki Muga, a co-star in the network's program Ōoka Echizen, which alternated with Edo o Kiru in the same time slot. He played Hoshina Masayuki, half-brother of shogun Tokugawa Iemitsu, masquerading as Azusa Ukon in a good-over-evil drama set in Edo. Also on the cast was Matsuzaka Keiko, who continued in the next several versions of the show.

Versions two through six starred the popular actor/singer Saigo Teruhiko in the role of Toyama Kagemoto, or Tōyama no Kin-san, a samurai who lived among the commoners, to the point of having a huge sakura tattoo drawn on his shoulder, but later became chief administrator of Edo. In this version of the Kin-san story (which has been the subject of several other series), Kinshiro lived in the house of the woman who had been his nursemaid (played by Masumi Harukawa, later O-Sai of Abarenbo Shogun), the proprietor of a fish-dealer. O-Yuki (Keiko Matsuzaka), pretending to be her daughter, is actually a daughter of Tokugawa Nariaki, daimyo of the Mito domain, and eventually marries Kin-san.
Wearing a purple cloth over her head and face, and wielding a sword in the Yagyū Shinkage-ryū manner, she works outside the law to bring justice to the wicked. At her right hand is an employee at the shop, Jirokichi (kabuki actor Matsuyama Eitaro, 1942–1991). The former Robin Hood-style thief Nezumi Kozō, he became an undercover agent for the Kin-san/O-Yuki team.
Morishige Hisaya (1913– ) played Nariaki in special guest appearances.

A major cast change brought veteran jidaigeki actor Kōtarō Satomi to the lead role, again as Kin-san, for the seventh and eighth series.
- - - More in the WIKIPEDIA !

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- Reference - Japanese -

- Reference - English -


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01/11/2014

Kaba Motoki

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. shikki 漆器 laquerware, laquer ware - Lackarbeiten .
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Kaba Motoki 加波基樹

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He works with Wajima laquer and keeps a store in the 4th generation.
加波次吉漆器店4代目 加波 基樹

明治年間、初代加波次吉が塗師屋(ぬしや)を起こしました。
塗師屋という聞き慣れない言葉は、実際に漆器を作る職人としての仕事だけにとどまらず、販売までを行う人やお店のことを指します。



当時の加波次吉漆器店は、輪島では1・2を争う隆盛を誇り、多くの蔵を有していましたが、のちの後継者が塗師屋ではなく職人として活動したため、塗師屋としての姿を消してしまったのです。
私は現在4代目として、先代である父に職人として師事しながらも、初代のような『職人が切り盛りする塗師屋』として、製造から販売までを一貫して行っています。一度は途絶えてしまった先代の名を守りながら、新しい漆の可能性を日々模索しています。「塗れるものなら何でも塗る」のポリシーのもと、異業種や新素材とのコラボレーションを積極的に行っています。苦労はありますが幸せな毎日を送っています。
- source : www.butuzou-world-shop.com


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- Look at more of his work :
- source : www.jikichi.jp

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source : 仏像ワールド -


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



. Mingei 民芸 Folk Art from Japan . 


. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 .


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. shikki 漆器 laquerware, laquer ware - Lackarbeiten .

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31/10/2014

Tokugawa Iemitsu

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Tokugawa Iemitsu 徳川家光 Third Shogun
sometimes spelled Iyemitsu, Iyémitsŭ,

(August 12, 1604 – June 8, 1651)
and in office 1623 – 1651


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the third shogun of the Tokugawa dynasty. He was the eldest son of Tokugawa Hidetada, and the grandson of Tokugawa Ieyasu. Iemitsu ruled from 1623 to 1651.
... his childhood name was Takechiyo (竹千代).
his younger brother was Tokugawa Tadanaga - However, Ieyasu made it clear that Iemitsu would be next in line as shogun after Hidetada.
In 1623, when Iemitsu was nineteen, Hidetada abdicated the post of shogun in his favor. Hidetada continued to rule as Ōgosho (retired Shogun), but Iemitsu nevertheless assumed a role as formal head of the bakufu government.
© More in the WIKIPEDIA !

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Utsunomiya Tsuritenjo Jiken 宇都宮 釣天井事件 The Ceiling at Utsunomiya


source : nifty.com/oracleasuka
Now even the subject of a senbei rice cracker.


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AN ARTIST'S LETTERS FROM JAPAN - BY JOHN LA FARGE (1835 – 1910)

Near Utsunomiya, August 30, 1886
I recall a little story of Utsunomiya, connected with my associations of Nikko, which I shall try to tell you; though, at the very start, I find a difficulty in my having heard it told in several different and contradictory ways—and I can only travel one at a time. As I shall tell it, it represents a legend believed at least in the theater, which, as we know, everywhere makes a kind of history.

The story is about the shogun Iyémitsŭ, whose temple, you know, is at Nikko, and who was near missing the honor of being divinized there later, owing to a plot arranged by his enemies, the scene of which was this little town of Utsunomiya. At that time he was but a boy, the heir-apparent, and was on his way to Nikko, as was his official duty, to worship at the tomb of his grandfather Iyéyasŭ, lately deceased. In this story Iyémitsŭ is not in the legitimate line of descent, but is made the heir by the decision of the great Iyéyasŭ.

His father, Hidetada, was shogun, as you know, having succeeded Iyéyasŭ, during the latter's lifetime,—the old man remaining in reality the master, though absolved from external responsibilities. Now, Hidetada's wife was of the family of Nobunaga, on her mother's side—and bore him a son, who was named during his childhood Kuni Matsu. Another son, whose boy name was Take Chiyo, was the son of Kasuga No Tsubone, a remarkable woman. Each son had tutors, people of importance, and around each boy gathered a number of ambitious interests, all the fiercer that they were dissembled and depended for success upon the choice of either heir as shogun, to succeed father and grandfather. The claim of the other son was favored by the father and more generally accepted; but the son of Kasuga was superior in looks, manners, and intelligence, and his mother hoped to influence in his favor old Iyéyasŭ, the grandfather.

Iyéyasŭ was then living in retirement at Sunpu, that is now called Shidzuoka, which is on the road called the Tokaido.

Kasuga took advantage of a pilgrimage to the shrines of Ise to stop on her road, and naturally offer homage to the head of the family, the grandfather of her son. Besides the power of her own personality, she was able to place before Iyéyasŭ very strong arguments for choosing as the heir of the line a youth as promising as her Take Chiyo.

Iyéyasŭ advised her to continue her pilgrimage, and not to go out of her woman's business, which could not be that of interfering with questions of state; and she obeyed. But Iyéyasŭ revolved the entire question in his mind, and decided that there was danger in a delay that allowed both parties to grow stronger in antagonism. So that he came at once to Yedo, which is now Tokio, and visited Hidetada, asking to see both the boys together. They came in along with their father and his wife, and took their accustomed places. Now these were on the higher floor, raised by a few inches from the floor on which kneels the visitor of lower degree, in the presence of his superior: a line of black lacquer edges the division. Thereupon Iyéyasŭ taking the boy Take Chiyo by the hand, made him sit by him, and alongside of his father, and ordered the other son, Kuni Matsu, to sit below the line, and said:
"The State will come to harm if the boys are allowed to grow up in the idea of equal rank.
Therefore, Take Chiyo shall be shogun, and Kuni Matsu a daimio
."
This decision gave to the line of the Tokugawa a brilliant and powerful continuity, for Take Chiyo, under his manhood name of Iyémitsŭ, was as an Augustus to the Cæsar Iyéyasŭ. And, indeed, Iyéyasŭ had certainly made sufficient inquiries to warrant his decision. If he consulted the abbot Tenkai, of Nikko, who was a preceptor of the boy, he must have heard favorably of him. For, according to the judgment of Tenkai, as I find it quoted elsewhere, "Iyémitsŭ was very shrewd and of great foresight," and in his presence the great abbot felt, he said, "as if thorns were pricking his back."

Not but that he was also fond of luxury and splendor; and one glimpse of him as a youth shows a quarrel with a tutor who found him dressing himself, or being dressed, for "No" performances, or "private theatricals," and who proceeded thereupon to throw away the double mirrors,—in which the youth followed his hair-dresser's arrangements,—with the usual, classical rebuke, condemning such arrangements as unworthy of a ruler of Japan.

There are many stories of Iyémitsŭ more or less to his advantage—and a little anecdote shows a young man of quick temper, as well as one who insisted upon proper attendance.

Iyémitsŭ had been hawking in a strong wind, and with no success. Tired and hungry, he went with some lord-in-waiting to a neighboring temple, where lunch was prepared for them by his cook,—a man of rank. Iyémitsŭ, while taking his soup in a hurry, crushed a little stone between his teeth; whereupon he immediately insisted upon the cook's committing suicide. The cook being a gentleman, a man of affairs, not a mere artist like poor Vatel, hesitated, and then said:
"No soup made by me ever had stones or pebbles in it; otherwise I should gladly kill myself: you gentlemen have begun dinner at once without washing hands or changing dress, and some pebble has dropped into the soup from your hair or clothes. If after having washed your hands and changed your dress, you find any stones in the soup, I shall kill myself."
Whereupon Iyémitsŭ did as was suggested by the cook, repented of his own severity, and increased the cook's pay. But the tutor and guardians of Iyémitsŭ watched over him carefully, and the story I had begun to tell shows that they had no sinecure.

The tutors and guardians of the brother, whom Iyéyasŭ had decided to put aside in favor of Iyémitsŭ, were naturally deeply aggrieved and sought for chances to regain their ward's future power and their own.

As my story began, Iyémitsŭ, representing the hereditary shogunate, was called upon to travel to Nikko and worship officially at his grandfather's tomb. On his way it was natural that he should rest as we did, at Utsunomiya, and in the castle of his vassal, Honda, who was one of the tutors of his brother. This was the son  of the great Honda Masanobu, of whom I spoke above as a champion of Iyéyasŭ.

Here was an opportunity; and a scheme of getting rid of the young shogun was devised by his enemies that seemed to them sufficiently obscure to shield them in case of success or failure, at least for a time. This was, to have a movable ceiling made to the bath-room weighted in such a way as to fall upon any one in the bath and crush him. Whether it was to be lifted again, and leave him drowned in his bath, or to remain as an accident from faulty construction, I do not know.

To build this machine, ten carpenters were set to work within the castle and kept jealously secluded,—even when the work was done, for the young shogun delayed his coming. The confinement fretted the men, among whom was a young lover, anxious to get back to his sweetheart, and not to be satisfied with the good food and drink provided to appease him. He told of his longings to the gatekeeper, whose duty it was to keep him imprisoned, bribed him with his own handsome pay and promise of a punctual return, and at last managed to get out and be happy for a few moments. The girl of his love was inquisitive, but reassured by explanation that the work was done, and that he should soon be out again; yet not before the shogun should have come and gone on his way to Nikko. And so he returned to the gatekeeper at the time appointed. Meanwhile, during that very night, the officers of the castle had gone their rounds and found one man absent. In the morning the roll-call was full. This was reported to the lord of the castle, who decided that if he could not know who it was that had been absent it was wise to silence them all. Therefore, each was called to be paid and dismissed, and, as he stepped out, was beheaded. The gatekeeper, getting wind of what was happening and  fearing punishment, ran away, and being asked by the girl about her lover, told her what he knew and that he believed all the carpenters to have been killed.

Since her lover was dead, she determined to die also, having been the cause of his death and of the death of his companions. She wrote out all this, together with what her lover had told her of his belief and suspicions, and left the letter for her father and mother, who received it along with the tidings of her suicide. The father, in an agony of distress and fear, for there was danger to the whole family from every side, made up his mind to stop the shogun at all hazards, and in the depth of the night made his way to Ishibashi, where one of the princes had preceded Iyémitsŭ, who was to pass the night still further back on the road.

Here there was difficulty about getting a private interview with so great a man as this prince, whose name you will remember as being the title of the former owner of our friend's house in Nikko: Ii, Kammon no Kami.

The letter was shown to Ii, who despatched two messengers, gentlemen of his own, one back to Yedo, to see to the safety of the castle there; the other one to Iyémitsŭ, but by a circuitous route, so that he might appear to have come the other way. The letter was to the effect that the young shogun's father was very ill and desired his son's immediate return. By the time that Iyémitsŭ could get into his litter, Ii had arrived and shown him the girl's letter. Then the occupants of the litters were changed, Matsudaira taking Iyémitsŭ's norimono and Iyémitsŭ Matsudaira's. This, of course, was to give another chance of escape in case of sudden attack by a larger force, for they were now in enemy's country and did not know what traps might be laid for them. The bearers of the palanquin pressed through the night, so that, leaving at midnight, they arrived at Yedo the following  evening; but the strain had been so great that they could go no further.

There was still the fear of attack, and among the retinue one very strong man, Matsudaira Ishikawa, carried the litter of the prince himself. But the gates were closed, and the guards refused to recognize the unknown litter as that of the shogun; nor would they, fearing treachery, open when told that Iyémitsŭ had returned. Delays ensued, but at last admission was obtained for Iyémitsŭ through a wicket gate—and he was safe. Later, after cautious delays, the guilty were punished, and I hope the family of the carpenter's love escaped. When I first read the story, years ago, the version was different, and there was some arrangement of it, more romantic—with some circumstances through which the young carpenter and his sweetheart escaped, and alone the father, innocent of harm, committed suicide.

- - - snip

That lady in the story just given you, where she is the mother of Iyémitsŭ and the concubine of his father, the shogun, was a very different person.

Little Iyémitsŭ was the legitimate son; moreover, the one who by date of birth was the probable heir, notwithstanding the preference shown by his father and his mother, Sogenin, for his younger brother. So that the succession was decided abruptly by the stern head of the family, Iyéyasŭ.

Great attention was paid by the grandfather, the great Iyéyasŭ, to the education of this grandson. As a Japanese friend remarked, he believed that the important place in the generation was that of the third man. So that three distinguished noblemen were appointed his governors: Sakai, to teach benevolence; Doi, to teach wisdom; Awoyama, to teach valor.
Besides these great professors for the future, the little boy needed an immediate training by a governess good in every way. Kasuga, a married woman, the daughter of a well-known warrior of imperial descent who had lost his life in some conspiracy of the previous generation, was chosen by [Pg 213] the government for the position. This was, perhaps, as great an honor as could be offered to any lady. Besides, there was an opportunity to clear the memory of her father. And she begged her husband to divorce her that she might be free to give all her life to this task. So devoted was she that the boy being at one time at the point of death, she offered herself to the gods for his recovery, vowing never to take any remedy. In her last illness she refused all medicine, and even when Iyémitsŭ—now ruler—begged her to take a commended draught from his hand, she merely, out of politeness, allowed it to moisten her lips, saying that her work was done, that she was ready to die, and that her life had long ago been offered for the master. Nor would she allow the master to indulge her with regard to her own son. He was in exile, deservedly, and the shogun asked her permission to pardon him, in the belief of possible amendment. She refused, bidding Iyémitsŭ to remember his lesson: that the law of the country was above all things, and that she had never expected such words from him. Moreover, that had he revoked the law for her, she could not die in peace.
There is a Spartan politeness in all this, for which I think the stories worth saving to you.
- source : www.gutenberg.org

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At Imamiya shrine 今宮神社 , you can get unique charms or talismans. One of them is the
tamanokoshi (marry into the purple) charm 玉の輿お守り.
It is a vivid navy blue and printed with the designs of Kyoto vegetables.


This charm is derived from an old story:

Tokugawa Iemitsu (1604-51), the 3rd Edo shogun, fell in love with a beautiful girl named Otama, who was born in Kyoto’s Nishijin weaving district as the daughter of a greengrocer. Iemitsu took Otama as a concubine and she bore him a son, who later became the 5th Edo shogun, Tokugawa Ietsuna.
In 1651, when Iemitsu died, Otama became a Buddhist nun under the name Keishoin. She had kept Nishijin in mind even after achieving a high status, and she seems to have exerted herself to build a temple, revive the Yasurai Matsuri (which had been suspended), and support Nishijin after she heard of the ruin of Imamiya Shrine.
The guardian gods of Nishijin also protect Imamiya Shrine, so people wished for the prosperity of the Nishijin area. Local residents say that the word “tamanokoshi” can be traced back to Otama’s story, and anyone who wants to become a “Cinderella”, or simply be happy, can visit this shrine to buy this charm.
source : www.kyopro.kufs.ac.jp

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. Sanpooji 三寶寺 / 三宝寺 Sanpo-Ji - Nerima .

The third Shogun, 将軍家光 Tokugawa Iemitsu, often passed here during his falcon hunting and a special gate was constructed later for him to go through, 御成門 Onari-Mon, now the oldest existing building in the temple complex.

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reimuzoo 霊夢像 Reimuzo, Oracle Dream Image
When Iemitsu was ill later in his life, he had dreams of Ieyasu.
He orderd the painter Kano Tan'yū to create an image after his dream vision.
37 of these dreams are well documented. “dream” portraits.



. . . CLICK here for more Photos !



Visions of the Dead: Kano Tan'yū's Paintings of Tokugawa Iemitsu's Dreams
Karen M. Gerhart / Monumenta Nipponica 2004
- source : www.jstor.org -

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- Reference - Japanese -
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. Kasuga no Tsubone 春日局 Lady Kasuga . - (1597 - 1643)

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24/10/2014

Huish Marcus

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Huish Marcus Bourne Huish
(1843- 1904)

Author of “Japan and its Art”
Chairman of the British Japan Society



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Marcus Bourne Huish

Nationality: English
Date of Birth: 1843.11.25
Place of Birth: Castle Donington
Date of Death: 1921.05.04
Place of Death: 21 Essex Villas, Kensington, London

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Marcus Bourne Huish was a barrister, writer and art dealer, the son of Marcus Huish of Castle Donington, Leicestershire. He married Catherine Sarah Winslow. Their daughter Margaret Dorothy Huish was born in 1879.

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Husih was called to the bar in 1867 but seems to have abandoned his legal career for the art trade. From 1879-1911 he was Director of the Fine Art Society, with Ernest Brown as his assistant manager. For 12 years he was also editor of Art Journal. In September 1879, after JW's bankruptcy, the Fine Art Society commissioned JW to travel to Venice to complete twelve etchings. JW stayed for over a year, making fifty etchings and over ninety pastels.

On JW's return in 1880, he rented rooms at 65 Regent Street from the Society to print the Venice etchings, twelve of which were exhibited in December at Etchings of Venice, The Fine Art Society, London, 1880. Fifty-three pastels were exhibited the next year, at Venice Pastels, The Fine Art Society, London, 1881. The private view of Mr Whistler's Etchings, The Fine Art Society, London, 1883, was accompanied by a catalogue, wherein each entry was followed by a quotation from earlier criticisms. In 1895, JW held an exhibition of lithographs at the Society (Mr Whistler's Lithographs, The Fine Art Society, London, 1895).

Huish was himself a watercolourist and the chairman of the Japan Society.
He was a Chevalier of the Order of the Sacred Treasure, and was made a Knight of the Order of the Crown of Italy for his part in organising the British section at the Venice Biennale.
The Huishes lived at 21 Essex Villas, Kensington.
- source : www.whistler.arts.gla.ac.uk


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Samplers and Tapestry Embroideries
by Marcus Bourne Huish
Author of “Japan and its Art,”
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. . .It is true that recent International Exhibitions have included some marvellous specimens of adroitness in needlework, such, for instance, as the wonders from Japan; but these tours de force, and even the skilled productions from English schools, as, for instance, “The Royal School of Art Needlework,” and which endeavour fitfully to stir up the dying embers of what was once so congenial an employment to womankind, are no indications of any possibility of needlework regaining its hold on either the classes or the masses.
...
... Among other stitches used for grounds are the long flat satin-stitch familiar in Japanese embroideries of all periods, and laid-stitches, i.e., those formed of long threads “laid” on the satin or silk foundation, and held down by short “couching” stitches placed at intervals. Laid-stitch grounds, however, are oftener seen in foreign embroideries, especially Italian and Spanish, than in English examples.

Read the full text at Gutenberg library
- source : www.gutenberg.org/ebooks

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. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 .


. Mingei 民芸 Folk Art from Japan . 

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22/10/2014

Legrand Paul

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Legrand Paul Legrand ボール・ルグラン


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ボストン美術館  華麗なるジャポニズム展
Boston Museum Japonism Exhibition


インクスタンド Ink Stand - 1876

- source : kurokawatakao-beauty

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“Looking East” exhibition
highlights Japanese influence on Matisse, Monet, Van Gogh and more
Looking East: Western Artists and the Allure of Japan
Opens January 31, 2014

Signaling their own cosmopolitanism, Western artists staged their compositions with elegant oriental props; Japanese fans, kimonos, lanterns, screens, umbrellas, and vases, for example, are especially common in French paintings.
“The French Impressionist Claude Monet looked to his collection of more than 200 Japanese prints as a source of inspiration, and even based the gardens at his country home in Giverny, France on ukiyo-e landscapes,” explains Ms. Kennedy. Characteristic Japanese flora and fauna motifs such as chrysanthemums and butterflies are also incorporated in Western decorative arts as seen in this exhibition’s elaborately decorated inkstand (1876) by the French designer Paul Legrand.
The japonisme influence even extended to architecture, furniture design and book illustrations, examples of which are also on view in this exhibition.
- source : fristcenter.org/news


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. Japonism ジャポニスム .


. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 . 


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Iwamura Sadao

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Iwamura Sadao
(1912  - 1944)

died: Phillipines ; active: Japan

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This cabinet was made it the mid-1930s by Iwamura Sadao, a graduate of the Kyoto Art and Craft School. With rounded, streamlined corners and strong geometric patterning, the cabinet embodies the international style known as Art Deco. This decorative arts movement first took shape in Paris during the Exposition Internationale des Arts Décoratifs et Industriels Modernes of 1925. It was during the run of this exhibition that Prince Asaka, the eighth son of Prince Kuni, and his wife princess Nobuko, the eighth daughter of Emperor Meiji, resided in Paris and became ardent supporters of the design concepts advanced by Art Deco artists.
After returning to Tokyo, they immediately began construction on a sumptuous modern residence which is preserved today as the Teien Art Museum. This palace became a showcase of Art Deco design in Japan and featured the work of designers who combined many of the hallmarks of international Art Deco with Japanese approaches to craft.


lacquer, crystal, mother-of-pearl

While not directly produced for the Teien Palace, this cabinet exemplifies the approach used to create many of the objects that adorned the imperial residence. With its high degree of quality and production, it could easily have been included in this Palace. Not only does Iwamura use Japanese lacquer—albeit in a striking, seldom seen verdant shade—he combines it with mother-of-pearl inlay and shrinks the dimensions to accommodate the size and scale of domestic living in modern Japan.
- source : www.spencerart.ku.edu


. Mingei 民芸 Folk Art from Japan . 


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. Art Deco アールデコ .

. Japanese Aesthetics エスセティクス - Nihon no bigaku 日本の美学 .



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