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Daruma and the Courtesans,
Onna Daruma, Oiran and Daruma
芸者,花魁とだるま、女だるま
Daruma as a lady, Daruma with the ladies...
Iwabuchi Onna-Daruma, Daruma as a Courtesan
... ... ... 岩淵の女達磨
Utagawa Kunisada (1786-1864)
The background showing a landscape between stations Kanbara and Yoshiwara on the Tôkaidô road, from the series Tôkaidô comparing popular figures with stations of the Tôkaidô (Tookaidoo).
Curtesy to Asian Art. Look at more of their phantastic prints.
http://www.asianartschmitz.de/englisch/holzschnitte.html
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Oiran (花魁, Oiran)
were high-class courtesans in Japan. The word "oiran" consists of two kanji, 花 meaning "flower", and 魁 meaning "leader" or "first." Cultural aspects of oiran traditions continue to be preserved to this day.
The oiran arose in the Edo period, 1600 - 1868. At this time, laws were passed restricting brothels to walled districts set some distance from the city center. In the major cities these were the Shimabara in Kyoto, the Shimmachi in Osaka, and in Edo, the Yoshiwara. These rapidly grew into large, self-contained "Pleasure Quarters" offering all manner of entertainments. Within, a courtesan's birth rank held no distinction but there arose a strict hierarchy according to beauty, character, educational attainments and artistic skills.
Among the oiran, the tayū (太夫 or 大夫, tayū) was considered the highest rank of courtesan or prostitute, and were considered suitable for the daimyo. Only the wealthiest and highest ranking could hope to patronise them.
© More in the WIKIPEDIA !
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ONNA DARUMA女達磨 was a popular theme.
Onna Daruma also comes as a Netsuke.
For the little secret under her skirt, see here:
http://www2s.biglobe.ne.jp/~musasi01/netuke/203/daru.htm
http://www.flickr.com/photos/gabigreve2000/640985313/
Hanabusa Itchô (1652-1724) 英一蝶
His Daruma painting is maybe the most famous, but I have not found it yet.
http://www.kyohaku.go.jp/eng/dictio/data/kaiga/hanabusa.htm
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Read about the courtesans in the Yoshiwara quarters of Old Edo and their connection with our Daruma.
Another courtesan that Bunkoo speaks about is Rizen. Sold to the Oomiya brothel by her husband, a pharmacist by the name of Kuwanaya Yasoo, Rizen "had a kind heart, was deeply compassionate, and professed a strong faith in Boddhisatva Samantabhadra (Fugen bosatsu)." Bunkoo presents her as being more devout than most of the Buddhist monks.He reminds his listeners, who may have been shocked at his associating a prostitute with a boddhisatva, that Samantabhadra, while riding a white elephant, had actually revealed himself to his devotees in the form of a prostitute.
Bunkoo also spoke aboutr a Buddhist monk of the Heian period, Shookuu (910-1007), who taught that "if one wants to worship Samantabhadra, he should go to Harima to see the singing and dancing of the courtesans." Bunkoo's conjunction of boddhisatvas and courtesans was meant to shock his listeners and also to satirically expose hypocritical Buddhist monks.
In his strong defense and praise of Rizen, Bunkoo argues that
"Daruma Buddha faced the wall sitting in meditation for nine years. But the courtesan Rizen spent not nine, but ten years confined to her place of business, facing the wall, season after season all day long."
Bunkoo admitted that his inspiration for this insight had come from Hanabusa Itchoo. The artist had employed the same type of contrast in his paintings. He once painted the face of a courtesan on the body of the Daruma.
This painting of a female Daruma, holding a fan and tobacco pouch and dressed like a courtesan, was a visual expression of the incongruity and contrast of which Bunkoo was so fond. On Hanabusa's painting were written the words: "What is nine years of suffering
compared with ten years of prostitution?"
Read this great story about
Violating Censorship: Humor and Virulence in the Popular Writings of Baba Bunkoo (1715-1759)
William J. Farge Loyola University, New Orleans
http://web.aall.ufl.edu/SJS/Bunko.html
Safety Copy of this article
http://groups.yahoo.com/group/DarumaArchives-002/message/41
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Civilized Daruma by Tsukioka Yoshitoshi
http://www.davidrumsey.com/amico/amico9102234-73351.html
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Daruma/Kannon by Seki Yuho (1900-1982)
The two pillars of Buddhism are insight—symbolized by the Grand Patriarch Daruma-and compassion—represented by the Goddess Kannon.
The mark of a true Zen master is to be able to identify with both the masculine and feminine aspects of Buddha-nature, and indeed such great teachers as Hakuin, Sengai, and Tesshu were able to paint Daruma and Kannon equally well. In this painting we have both Zen teachers together, a real treat.
About the Artist
Seki Yuho was born in Fukuoka. He became abbot of the major Zen temple Eigenji in 1956, and frequently traveled overseas to give instruction in Zen. Yuho wrote a number of books, including one entitled Die Once, and You Won't Die Again. He was a proflic Zen artist, both calligraphy and painting.
http://www.shambhala.com/zenart/html/gallery/detail/d31.cfm
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Kitagawa Utamaro (1754-1806)
A seller of fan-papers ( jigami-uri ) and a young beauty from an untitled series of eight prints published c1797 by Tsuruya Kiemon. The idealised itinerant merchant has black fan-shaped lacquer boxes perched on his shoulder. In his hand he holds a fan with an image of Daruma eyeing the couple.
http://www.ukiyo-e.demon.co.uk/beauties.htm
Look at this detail of the Daruma enjoying himself
(from Farland Collection)
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Let us read a paragraph from DARUMA
by Neill McFarland.
A common theme is the pairing of Daruma with a woman. Typically in the woodblock prints, the woman is identified as a courtesan. Young, beautiful and gorgeously attired, she is demure,but also emotionless - perhaps, one could say,as calm and self-sufficient as a Zen monk. Daruma, on the other hand, traditionally so stolid, here is the epitome of discomfiture. His gargling eyes, otherwise symbols of outward alertness and inner awareness, now bug at th eunaccustomed distraction and attraction of the female presence.
His whole demeanor suggests rather incriminatingly that, for all his vaunted self-discipline, this most austere personage must content with a residue of human passion.
Daruma is also present with courtesans not as a second principal figure, but as a secondary detail in the total composition - a picture on the wall, a decoration on a garment, a tumbler doll, on a fan ...
During the Edo period, the frustration of living under repressive conditions pushed frivolous tendencies to the level of social satire, and it also contributed to an obsessive interest in amourous liaisons with the enchanting denizens of the pleasure quaters. It is not surprising, that Daruma, seemingly so in control, became an object of parody and ribaldry. Given his ubiquity and the stereotyped character of his presentations, he was an obvious canditate.
H. Neill MacFarland
Daruma:
The founder of zen in Japanese art and popular culture
I take this chance to express my thanks to Farland Sensei for this wonderful book, which has been my stepping stone to my real and now virtual Daruma Museum.
Most of the following illustrations are from the Book of Farland Sensei.
http://www.amie.or.jp/daruma/ABC.html
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Picture of Daruma and Geisha
by Fuji no Yuki Kaikei Soga
富士雪会稽曽我（ふじのゆきかいけいそが）
演劇博物館所蔵 Tsubouchi Memorial Theater Museum
http://www.waseda.jp/enpaku/gallery/bunchou/1_04.html
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Okumura Masanobu 1686 - 1764 奥村正信
Reclining somewhat apprehensively on a huge leaf, Daruma is propelled across the water by a courtesan and a kabuki actor famous for female roles.
Ink Sketch. Farland Collection.
http://wwar.com/masters/o/okumura_masanobu.html
http://www.oberlin.edu/allenart/collection/masanobu_okumura.html
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Suzuki Harunobu 1743 - 1807 鈴木晴信
In an uncharacteristic display of vanity, Daruma gazes at his reflection in the water and daintly tweezes some stray hairs from his beard,while the young woman poles the boat.
Ink Sketch. Farland Collection
Look at a colored version of this hanga HERE !
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Giving Daruma a smoke. Present only as a painting on a hanging scroll in the tokonoma, Daruma is stirred to life by a courtesan. As he leans toward her, she turns and offers him her pipe.
Ink Sketch. Farland Collection
http://wwar.com/masters/s/suzuki_harunobu.html
Daruma with a courtesan. Unknown artist. 17th century.
Ink Sketch. Farland Collection.
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Takeda Harunobu 竹田春信
Daruma in drag.
Satire and commedy reach their peak in the exchange of clothes between Daruma and a courtesan.
Farland Collection.
Kawanabe Gyoosai (1831 - 89) 河鍋暁斎
Kawanabe Kyosai
http://farm3.static.flickr.com/2480/3715448273_6129985dce.jpg?v=0
House of pleasure. Though not a woodblock print, this painting belongs to the genre of ukiyo-e parodies. As the subject of a mural, Daruma is an embrrassed but curiously attentive guest at a wild party in the pleasure quaters.
Farland Collection
... //www2.ocn.ne.jp/
More about Kawanabe Kyosai
In the Daruma Museum
Daruma with Lady, Kawanabe Kyosai
Kawanabe Kyosai (Kawanabe Gyoosai, Kyoosai) 河鍋暁斎.
Painter, (1831-1889)
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Here he is enjoying himself with the ladies in Kutani Pottery
More about this in my story of Kutaniyaki and Daruma
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Things found on the Way
Nice Gallery of Hanga with Folk Art Themes, one of them a Lady Daruma Doll
http://www.showa-corp.jp/toshakan/gallery/ita/ita07.html
〔1〕 三春の木馬（福島県） http://www.showa-corp.jp/toshakan/gallery/ita/ita01.html
〔2〕 花巻の鶏（岩手県） Chicken from Iwate
〔3〕 加茂の猫（新潟県） Cat from Niigata
〔4〕 富山の獅子頭（富山県） Lion Heads from Fukuyama
〔5〕 古賀の子守り（長崎県） Children from Nagasaki
〔6〕 三条の鳩持ち（新潟県） Dove from Niigata
〔7〕 竹田の女達磨（大分県） Lady Daruma from Oita
〔8〕 鳥取のきびから姉さま（鳥取県） Tottori
http://www.showa-corp.jp/toshakan/gallery/ita/ita01.html
I will write about the Princess Daruma Dolls in another story.
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Nighthawks, yotaka 夜鷹
The cheapest prostitutes, on small boats by the rivers and walking the streets with a straw mat, were called "nighthawks (night hawks)" yotaka or streetwalkers (sooka).
The word "yotaka" refers usually to these girls, not to the bird.
Since the Showa period, nighthawk is used for 宵っ張り yoitsupari, a night owl or a
night person.
"yotaka soba 夜鷹蕎麦" means a buckwheat stall for midnight customers.
Oumayagashi by Hiroshige
It is a murky winter night as the Oumayagashi ferry approaches its landing on the west bank of the Sumida just north of the Asakusa rice granaries of the bakufu. Against this somber background, the white faces, red sashes and blue head-towels of the two women in the bow of the ferry stand out in bright relief.
These are yotaka, "night hawks," the lowest class of street prostitutes. They are accompanied by their gyu, perhaps a father or brother, who served as bodyguard and tout. This scene is the closest Hiroshige ever gets to depicting the harsh realities of lower-class life in Edo, and he does so in a way calculated not to offend.
© Robyn Buntin of Honolulu
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keisei, 傾城, another expression for a lady of the night.
And some HAIKU
tama-arare yotaka wa tsuki ni kaerumeri
hailstones –
in moonlight, the nighthawks
come home
Uejima Onitsura (1660-1738)
(Tr. Michael Haldane)
かはほりに夜ほちもそろりそろり哉
kawahori ni yahochi mo sorori-sorori kana
like the bats
the nighthawk too
slow and sure
Kobayashi Issa
(Tr. David Lanoue)
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More ONNA DARUMA in my photo album
Scroll: Daruma with Lady
"Onna Daruma" by Toba Hiromaru 鳥羽広丸
"Onna Daruma" by Yamahigashi Kyooden 山東京伝
To the Daruma Museum Index
http://darumasan.blogspot.com/
Posts
7 comments:
Iwabuchi Onna-Daruma, Daruma as a Courtesan
... ... ... 岩淵の女達磨
Utagawa Kunisada (1786-1864)
The background showing a landscape between stations Kanbara and Yoshiwara on the Tôkaidô road,
kanbara is my native town and Iwabuchi is my wife's town.
That is promblem !!
sakuo.
.
Courtesan Daruma on a reed
Woodblock by Suzuki Harunobu (1725-1770)
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From Larry:
Yesterday, I visited an exhibit of Japanese art at the Asia Society
in New York City, itled: "Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680-1860."
Thanks to Gabi's work in her darumasan blogspot entry on daruma-and-courtesans, I was well-prepared to appreciate seeing several prints and paintings on this subject in the exhibit.
The first two prints I encountered on this subject were by the artist
Okumura Masanobu (1686-1764). He is credited with introducing several innovations into ukiyo-e, among them being new formats, compositional techniques, coloring methods, and subject matter, according to an essay by Sarah E. Thompson in the exhibit catalog.
The two prints of his in the exhibit on the subject of daruma-and-courtesans show Daruma sitting on a leaf being poled across the
Yantze River by a courtesan, or courtesans.
Ms. Thompson refers to this combination of "at least two completely different subjects, often drawing from the high culture and the popular culture respectively," as "'mitate' (or 'mitate-e', 'mitate pictures,' to distinguish graphic uses of the technique from written ones)." Ms. Thompson says that 'mitate' describes Masanobu's "extensive use of... witty literary allusions and parodies...". She calls the combining of Daruma with courtesans, originated by Hanabusa Itchoo (1652-1724),h "a visual joke."
Later in the exhibit, there is another example of daruma-and-
courtesan, in a hanging scroll painted for a private commission by Hokusai's assistant, Katsushika Hokuun (active 1804-44). In an essay by John T. Carpenter, he says of this painted scroll:
[Hokuun] paired a courtesan with Bodhidharma (J. Daruma) in red
monochrome in frontal pose with a conspicuously priapic contour. His
companion holds an unrolled love letter and coyly raises her sleeve
to her lips. In Edo parlance, courtesans were sometimes
called 'daruma' after the roly-poly dolls with Daruma face and torso that recall the legend of the master's loss of his legs during nine years of meditation. The idea was that a prostitute, after rolling around with a client, bounces up quickly just like a daruma doll...
The racy poem ['kyooka'--written on the hanging scroll above the
figures] says that Bodhidharma not only lost his legs, he lost
his 'ichimotsu', slang for his penis. 'Shin-kusaru' is both "my ass has decomposed" and slang for knowing another person's intimate
thoughts:
kimi o omou
hoka ni ichimotsu mo
naki ware o
shiri kusaru koso
urami narikeru
[signed] Unkin sekijoo gesaku
As I meditate on nothing
other than you, I'm ashamed
that you know my real mind.
Alas, not only have I lost my prick
but my ass has rotted away.
Playfully composed by Unkin at a party
...Unkin is the pen name of Kamo no Suetaka (1752-1842), another
prominent scholar in the National Learning movement who was also
active in the poetry world. [end of exerpt]
So, thanks again, Gabi!
Larry
beautiful courtesan--
new clothes for her hometown's
Buddha
keisei ya zaisho no mida e kinu kubari
傾城や在所のみだへ衣配
by Issa, 1825
The lady is a courtesan (keisei) dressed in a fine kimono. This haiku alludes to the Twelfth Month custom of providing gifts of new clothes, usually for one's relatives.
Here, the courtesan piously offers such a gift to the statue of Amida Buddha in her home village.
My translation could be more literal: "beautiful courtesan--/ new clothes for her hometown's/ Amida," but I feel that "Buddha" is clearer for most English readers. Ending with "Amida Buddha" would make the haiku too long, I think.
Tr. David Lanoue
http://cat.xula.edu/issa/
DIARIES OF COURT LADIES OF OLD JAPAN
TRANSLATED BY
ANNIE SHEPLEY OMORI
AND
KOCHI DOI
Professor in the Imperial University, Tokio
WITH AN INTRODUCTION BY
AMY LOWELL
And with Illustrations
COPYRIGHT, 1920, BY HOUGHTON MIFFLIN COMPANY
http://digital.library.upenn.edu/women/omori/court/court.html
遊女めが見てけっかるぞ暑い舟
yuujo me ga mite kekkaru zo atsui fune
the whores
are looking me over...
from their boat in the heat
Jean Cholley explains that prostitutes operated on boats on the west bank of Sumida River in Edo (today's Tokyo). Their price was 32 mon: which in Issa's day would buy three bowls of rice;
En village de miséreux: Choix de poèmes de Kobayashi Issa (Paris: Gallimard, 1996) 243, note 96. Kekkaru is an old verb with the same meaning as iru ("to be"); Kogo dai jiten (Shogakukan 1983) 565.
Kobayashi Issa
(Tr. David Lanoue)
.
frost-killed grass--
the little beauty
scrapes soot from a kettle
shimogare ya nabe no sumi kaku ko keisei
.霜がれや鍋の炭かく小傾城
by Issa, 1821
Ko keisei can mean "little beauty," "little courtesan," or "little prostitute."
In his translation, Makoto Ueda assumes the third meaning; Dew on the Grass: The Life and Poetry of Kobayashi Issa (Leiden/Boston: Brill, 2004) 137.
Tr. David Lanoue
.
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