Fuku - good luck

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Fuku Daruma 福達磨（ふくだるま）
Daruma for good luck

kigo for the New Year




. Daruma Markets / 達磨市 . 　



fukuiri Daruma, fuku-iri 福入だるま Daruma to bring good luck



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shoofuku 招福だるま　inviting good luck
fuku o maneku



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Nihon Kunichuu Fuku ga Kuru 日本国中福が来る
Good luck is coming to all of Japan !



北海道北広島市の達磨寺　伊藤朋山住職が作詞、
clubハッピーカムが作曲・演奏する

From the head priest Ito of the Daruma Temple
in Kita Hiroshima Town in Hokkaido.

Listen to the song on the CD online :
source : www.youtube.com


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fugu daruma　河豚だるま blowfish Daruma
a pun with FUKU



. fugu, fuku 河豚 blowfish .

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福だるま小脇にぶらり子規の街
fuku Daruma kowaki ni burari Shiki no machi

a lucky Daruma
under my arm - walking leisurely
in the town of Shiki

source : mineotose


. Matsuyama Town and Masaoka Shiki
松山と正岡子規 .


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Harimi dustpan

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Paper dustpan はりみ harimi



Small dustpans made of strong washi paper.
They look almost like Daruma san himself.

Some are plain red, others feature a small picture, like a bird or the face of O-Kame.
The paper is made resistant with the extract of persimmons (kakishibu). They do not produce static electricity when used on tatami mats.


They are used with a soft broom to clean the tatami of traditional Japanese homes.





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chiritori ちりとり dustpan



chiritorinabe, chiritori nabe ちりとり鍋
Korean dish with a lot of kimchee
Hodgepodge with pork entrails.

. . . CLICK here for Photos !


. Reference .


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. Chami, cha mi - scoop for tea 茶箕（ちゃみ）


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mi み【箕】 winnow for grain



This was a most useful tool for the farmers of old, usually made at home in the winter months with material that grows around the house. It was used for fanning grains and carrying vegetables. Now there are many maschines to do the work and these MI are shown in museums of farmers tools.



observance kigo for mid-winter

mi matsuri 箕祭 (みまつり)
festival when putting the winnow away
..... mi osame 箕納（みおさめ)

kuwa osame 鍬納（くわおさめ）putting the hoe/plough away

This was done in a ritual with a feast just before the New Year.



箕祭や先祖代々小作農
mimatsuri ya senso daidai kosaku noo

winnow festival -
since ancestors generations we are
tenant farmers

Matsuda Daisei 松田大声


. Farmers work in all seasons - KIGO

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. Kobayashi Issa 小林一茶 .

背たけの箕をかぶる子やはつ時雨
seitake no mi o kaburu ko ya hatsu shigure

with a winnow the boy
covers his head...
first winter rain
Tr. David Lanoue



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. Legends and Tales from Japan　伝説 - Introduction .

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Kagawa 香川県 長尾町 Nagao

oomino 大箕 the great winnow
On the first birthday of a baby there is a special ritual. The baby is presented with a kind of rucksack containing (誕生餅) special birthday mochi and a winnow with a book, an abacus, a pen, scisors, a ruler, a hammer or other things with the wish for a bright future as a craftsman.

. Soroban, Abacus 算盤、そろばん Abakus .


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Kochi, Nishi-Tosa 土佐
. shichinin misaki 七人ミサキ "Misaki of seven people" .
If someone gets ill, he has to stand at the entrance of the home, facing outside and the family members fan him with a 箕 winnow to make the illness go away.


- reference source : nichibun yokai database -
箕 61 legends to explore

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Kiriko cut glass

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. Edo shokunin 江戸職人 craftsmen, artisan, Handwerker .
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Cut glass Daruma 切子だるま kiriko daruma




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Edo Kiriko is a glass craft that has been handed down in Tokyo.
In Edo (present-day Tokyo) in 1824, Kyubei Kagaya started exploring the technique of cutting patterns into the surface of glass.

Edo Kiriko was fosterd in the urban culture among the townspeople, and during the Meiji era (mid-19th century), the craft introduced not only Western equipment and instruments, but also their technique while preserving traditional techniques and has been passed down to the present time.

First of all, an expert glassblower blows clear glass into a paper-thin shape of colored glass and then rotates this in the air to make the overall form. The result is a two-layer structure with colored glass on the outside and clear glass on the inside. By cutting patterns into the outside surface with different kinds of whetstones, a vivid contrast is created between the colored glass and the transparent glass.

In 1985 Edo Kiriko was designated a Traditional Craft Industry by the Tokyo Metropolitan Government.
source : web-japan.org



Edo kiriko 江戸切子

. . . CLICK here for Photos !


- quote
Edo Kiriko 江戸切子 Cut Glassware

■ Traditional Technologies and Techniques
1- Sumitsuke 墨付け (ink application) involves the use of a bamboo stick to apply ink to the surface of glassware. This preparatory process creates a basic outline of the patterns (designs) to be cut in glass.
2- Arazuri 荒摺り (rough grinding) involves the basic grinding of glass in accordance with the pattern applied to the surface using the sumitsuke process. Emery powder 金剛砂 (a grinding agent) is applied to the surface of a metal grinding wheel. This then comes into contact with the glass, and major elements of the pattern are etched accordingly. The next process 三番掛け (Sanbankake) is the application of finer grain emery powder in order to carry out more detailed pattern etching. Depending on designs, three different types of grinding wheel may be used.
3- Ishikake 石掛け (whetstone grinding) involves the use of a whetstone grinder to smooth and better define patterns etched during earlier grinding processes. Natural whetstones 丸砥石 from the southern island of Kyushu are used.
4- Kenma 研磨 (or Migaki) is the process of polishing the glass. It involves even finer-detail grinding of those surfaces that are to be non-transparent. It also brings out the traditional luster associated with transparent glass surfaces. When doing this step, polishing powder is used with a wooden polishing wheel 木車（桐、柳） (made of either Paulownia or Willow). The design is carefully polished in order to heighten both the transparency and luster of the glass.



■ Traditionally Used Raw Materials
Glass materials (crystal glass, soda lime glass)
ガラス生地（クリスタルガラス、ソーダ石灰ガラス）

■ History and Characteristics
Kiriko is a form of glass cutting in which grinders and whetstones are applied to the surface of glassware, and a number of different cutting (or grinding) techniques are employed in order to manufacture products.

The originator of the traditional craft of Edo Kiriko (cut glassware) was Kagaya Kyubei 加賀屋久兵衛, who ran a glassware store in Edo's Odenmacho 大伝馬町 (in the vicinity of modern Nihonbashi).

Kyubei is said to have learned his craft in Osaka, which at one stage was a leading center of glassware production in Japan. After completion of his apprenticeship, he returned to Edo and opened a glassware store in the city, where items such as eye glasses, thermometers and hydrometers were produced.

Edo Kiriko techniques deliver exquisite patterns that are both sparkling and lustrous when applied to suitable glassware such as "crystal glass," such techniques delivering products of great intrinsic value.

As Japan moved from the Taisho Era to the Showa Era, manufacturing evolved so quickly that "cut glass" came to be synonymous with "artistic glass," with the industry reaching its pre-war zenith around 1940.

In contemporary times, approximately 80% of Edo Kiriko manufacturing occurs in Koto and Sumida Wards.

Concerning Satsuma Kiriko 薩摩切子 (cut glassware produced in Kyushu), which is as equally loved as Edo Kiriko, it resulted from the Satsuma Domain (who ruled over modern Kagoshima Prefecture) inviting the Edo glassware manufacturer, Yotsumoto Kamejiro 四本亀次郎, to establish glassware production in the domain. This industry grew quickly as the government of Satsuma fully supported its development.

Tokyo Cut Glass Manufacturing Cooperative Association
- source : www.sangyo-rodo.metro.tokyo.jp

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- quote
Edo Garasu 江戸硝子 Edo Glassware

■ Traditional Technologies and Techniques
1- Glassblowing 吹きガラス:
Molten glass is spooled at the end of a blowpipe and air is blown in by mouth to shape the glass.
① Free-blowing 宙吹き:
Glass is spooled at the end of a blowpipe, air is blown into the molten glass as it is held in the air and rotated. Tweezers and other tools are used to make adjustments to the shape. The workpiece is heated in the furnace as shaping operations are repeated.
② Mold-blowing 型吹き:
In addition to the steps followed in free-blowing, a wooden or metal mold is used to shape the glass.
2- Pressed glass 型押し:
A plunger (male section) and a mold (female section) are created 雄雌の両型. Glass is spooled at the end of a blowpipe and inserted into the mold. The plunger is used to press the glass into the mold and shape it.



■ Traditionally Used Raw Materials
Silica sand, sodium carbonate, lime, potash, lead oxide, etc.
珪砂、ソーダ灰、石灰、カリ、酸化鉛等

■ History and Characteristics

1. Glass production in Japan
Glass production began in Japan during the Yayoi Period (300 BCE-300 CE). Production was discontinued for a time from the Heian Period (794-1185) to the Muromachi Period (1338-1573), before being revived following the importation of glassmaking technologies from China, Portugal and the Netherlands in the 16th and 17th centuries. Former names for glass in Japanese (currently garasu or shoshi) include ruri 瑠璃, a Japanese form of lapis lazuli; hari はり from the Chinese word boli; biidoro ビードロ from the Portuguese word vidro; and giyaman ギヤマン from the Dutch word diamant. These names also provide evidence of the overseas links that glass production in Japan enjoys.

2. Glass production in Edo (Tokyo)
Glass production in Edo is said to have started at the beginning of the 18th century, with items such as mirrors and eyeglasses produced by the first Kagaya (Minagawa) Kyubei 加賀屋（皆川）久兵衛 in the Nihonbashi-Torishiocho neighborhood. Ornamental hairpins and wind chimes were also produced by Kazusaya Tomesaburo 上総屋留三郎 in the Asakusa neighborhood. The names of Kagaya Kyubei and his son Kumasaki Yasutaro 熊崎安太郎 are included in the catalog of exhibits for Japan's First National Industrial Exhibition in 1877.

3. Cooperative association of glass producers
The Tokyo Glass [Hari] Producers Association 東京はり製造人組合 was founded in 1879. It underwent many changes over time, leading eventually to the establishment of the TOBU Glass Industry Co-operative Association of Japan (TGIA) 社団法人東部硝子工業会 in 1949. The aim of TGIA is to promote friendship, information exchange, communication and coordination among members.

4. Characteristics
Modern glass production was brought to Edo after first passing through Nagasaki, Osaka and Kyoto. In addition to items such as dishware for everyday use and bottles/jars, scientific instruments such as thermometers and hydrometers were made in response to orders from the scholar and politician Sakuma Shozan 佐久間象山 (1811-1864) as well as other people. During the early Meiji Period, glassmaking developed into one of Tokyo's local industries as modern European methods were integrated and the industry grew to meet a wide range of needs.

Glassware Manufacturing Association
- source : www.sangyo-rodo.metro.tokyo.jp


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source :　tdehdajez.cocolog-nifty.com
カガミクリスタル 江戸切子 This apple comes in green, blue and other colors.


. Welcome to Edo　江戸 ! .

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quote
Brilliant facets of Nishi-Ojima
By KIT NAGAMURA
I'm delighted to find the workshop of Toshio Takizawa, master craftsman of Edo Kiriko, a Japanese style of cut and faceted glass said to date from 1834. The most popular form now features crystal or clear glass coated with a colored layer on the outside, through which the artisan engraves and facets geometric or freehand designs. Takizawa invites me in, saying, "I entertain visitors and media all the time."
... the Ojima area was once crisscrossed by canals for barges transporting glass and coal. "A lot of glasswork is noisy, and when ordinary residents settled here, they complained about that," he says. "But Edo Kiriko work is relatively quiet, so there are a few of us still around."



source : Japan Times, 2011


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寒造透かせグラスの江戸切子
kanzukuri sukase-gurasu no Edo kiriko

ricewine brewed in the cold -
a transparent glass of
old Edo cut glass

吉岡ゆたか Yoshioka Yutaka
www5.ocn.ne.jp/~turu/kukai/g_200503.html

click on the photo for more about rice wine


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Satsuma Kiriko
is a traditional glass handicraft, made in Kagoshima prefecture, Japan.
Real Satsuma Kiriko is extremely expesive and rare, because Satsuma kingdom made this glass handicraft, only less than twenty years at the end of Edo Period.

Satsuma kingdom is the leading player of Meiji modern revolution, so Japanese people feel the all the romance of Japan's modernization in Satsuma Kiriko.
In recent decades, from 1985, Satsuma Kiriko started to be reproduced by its descendants.
source : stores.japanesegoods.jp

Satsuma kiriko 薩摩切子
. . . CLICK here for Photos !


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Ryuukyuu garasu 琉球硝子 Ryukyu glassware



琉球ガラス村 Ryukyu Glass Village
- reference source : ryukyu-glass.co.jp -

- quote -
Ryukyu Glass
Some say the sea in Okinawa is rainbow colored. In fact, the sea around the southern islands has many colors: deep blue, sky blue, emerald green, orange and yellow at sunrise and sunset etc. Ryukyu Glass may have inherited its qualities from the colorful and calm sea of Okinawa.

Glassware was originally brought to Okinawa from Southeast Asia and the Strait of Malacca several centuries ago. However, its production did not begin until the 19th century. Glassware was easily broken during the long ship voyages from overseas, which led the people of Okinawa to invite glass craftsmen from Nagasaki or Osaka to their land so they could learn how to make medicine bottles and lamps for themselves. They also used all kinds of recycled glass, like broken glass pieces from foreign ships, used sake and soy sauce bottles. They also made use of inferior products like air bubbled or unevenly thickened glass. These factors all contributed to the unique design of Ryukyu glass.

In 1972, the Okinawa Ocean Expo was held, igniting tourism in Okinawa.
The more tourists visited the islands, the more souvenirs were sold. In response to these happenings, local glassmakers started expanding their industry; they introduced new glass materials in addition to the traditional recycled glass, and developed new techniques for coloring. In 1998, Ryukyu Glass was registered as one of the Traditional Crafts of Japan. There are many glassmakers in Okinawa producing many kinds of glassware, from artistic pieces to gift items.
Ryukyu glass reflects the values of Okinawa:
Don’t waste, recycle. Be flexible and adaptable.
And most importantly, every imperfection is useful.
- source : Japan Brand 109 -



. Ryuukyuu 琉球 Ryukyu art and craft, Okinawa .

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. Tsugaru Glas 津軽のガラス工芸 - Aomori .

. Hagi 萩のガラス工芸 glass art from Hagi . - Yamaguchi

. Matsugaoka Glass Products / 松ヶ岡ガラス工業 - Yamagata .

. mamezara 豆皿 small plates "beans size" .

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kiriko mandala 切子曼陀羅




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kigo for all summer

kiriko 切子（きりこ）cut glass
..... kattogurasu カットグラス
..... gyaman ギヤマン (diamant)
..... biidoro びいどろ (vidro)


.SAIJIKI ... HUMANITY - Kigo for Summer 　

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. biidoro ビードロ vidro
hoppen ぽっぺん glass ball plopping
kigo for the New Year


biidoroya, biidoro-ya 硝子屋 craftsman making glass ware
garasu ku 硝子工 glass blowers
gyaman　ギャマン = diamond　ダイアモンド


source : edomono.tumblr.com

Making glass items had been introduced in the Heian period, but was soon forgotten.
In the middle of the Edo period, things made of glass have become quite popular, from Kanzashi hairpins to cups and plates.
All the glass items were blown from a round piece (tama　玉). It was then blown into shape.
An old saying goes:
tamatori san nen, kiji hachi nen　玉取り三年 素地八年
making the right glass ball takes three years
making the right form out of it takes eight years



Popen o fuku musume ポペンを吹く娘 Girl blowing a "Poppen" glass
ビイドロを吹く娘 / ポピン popin
. 喜多川歌麿 Kitagawa Utamaro .


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source :　item.rakuten.co.jp/plywood


. Fuji San 富士山　Mount Fuji .


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source : karen of facebook 2018

Hoya Crystal


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. Edo shokunin 江戸職人 craftsmen - ABC list .

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- #kiriki #glassware #ryukyuglass -
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Kites (tako)

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. tako　凧 Kites of Japan - Introduction .
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Kite 凧 tako

wadako 和凧 Japanese Kite



Flying a kite is a popular event during the three days of New Year Holidays. There are also contests of Kite flying in Hamamatsu and other cities. Some kites are so big it takes a whole group of grown up men to hold them. The patterns of Japanese Kites are sometimes very beautiful, heroes of legends and folktales are most spectacular. To find out about them is like an excursion in the stormy field of Japanese Samurai Heroes. But the diligent Daruma san has also won his place in this genre.


. tako　凧 Kites of Japan .
- - - - - tako-e　凧絵 pictures on kites

. Edodako, Edo-dako 江戸凧 Kites of Edo .

. Kanagawa 神奈川　three kites .

. Kyushu　九州　kites from Kyushu .

. toojindako, toojin tako 唐人凧 kite with Chinese face .

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History of Kites in Japan


Kite Museums in Japan - 凧（たこ）博物館


Japan Kite Association "日本凧の会"


Kites with six corners 六角凧 rokkaku tako


Goods with Daruma kite patterns,
like nektie pins and others
http://www.shokoren-toyama.or.jp/~daimon/tokusan/goods.html


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Make a wish with “Kite-Flying”
and fly it high in the sky
January 2015



- source : tadaima Japan

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The Kite Museum in Ikasaki, Shikoku

Kites from Japan and all over the World



凧博物館では、日本各地の凧はもちろん、世界中から収集した凧の展示を中心に、凧に関する幅広い資料の充実を図っています。
伝統ある各地の凧を展示、紹介するとともに、創意工夫をこらした新しい凧も展示して、凧とのふれあいを深めたいと考えています。

五十崎凧資料館
〒795-0301　愛媛県喜多郡内子町五十崎甲1437番地
TEL　0893-44-5200　FAX　0893-44-5202
http://www.shikoku.ne.jp/bigkite/takohaku.html


MAP of the Area

List of Kites from Japan / 日本各地の凧
Click on the buttons to see the various kites.

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Daruma from Hatano - Hadano 秦野だるま


Daruma as protector of the silk cocoons.

だるまは形が繭に似ているところから、養蚕の神とされてきました。
その他にも七転び八起きの商売繁盛、赤い衣は子どもの厄除け、農家にとっては豊年万作の福のなどなど、縁起物として大切にされています。
その昔、武家に子どもが生まれると、出生を祝って角凧をあげていました。
それを遠くで眺めていた農家の子供たちが凧を羨ましがり、せがまれて親が作ったのがだるま凧だったと言われています。目玉や胴の模様に蝋を溶かして筆で塗るとあげたときに逆光になり、その部分がランランと輝いて見えます。

. Kites from Kanagawa 神奈川の凧　 .
abudako, abu tako あぶ凧 / 虻凧 kite like a gadfly
semidako, semi tako 蝉凧 cicada kite
shoogidako, shoogi tako 将棋凧 Japanese Shogi chess kite


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Daruma from Etchuu 越中だるま凧



六角凧で有名な三条市の凧にだるまを描いたものです。だるまは力強い筆致で描かれることが多く、この凧も線の太い力強いだるまの絵柄となっています。骨組みも太く、強風用の凧となっています。
A kite with six corners.


. Etchu Daimon Kite Festival 越中大門凧祭り 　　
with more Daruma kites !


. Folk Toys from Toyama (Etchu) .

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A long single tail is needed to fly this kite.
The birth of this kite is Hatano city, Kanagawa prefecture.
http://www.asahi-net.or.jp/~ET3M-TKKW/daruma.html

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Big Kite from Tsugaru 津軽大凧
About 115 cm long and 90 cm wide.




Photos from Ishino san.

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Sakurai no tako 桜井の凧 kites from Sakurai
common forms are fukusuke, horsefly, bee, butterfly and Tenjin sama.
They are known for their bright colors. They are "sodedako" 袖凧　kites with sleeves.



. Aichi Folk Art - 愛知県　 .

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Kurayoshi no Ika 倉吉いか
In the town of Kurayoshi, Tottori, the kites are not called TAKO (Octopus), but IKA (Squid).
. . . CLICK here for Photos !

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. ikanobori いかのぼり - 凧 -紙鳶 kite like a squid .
speciality of Hakodate, Hokkaido


凧巾きのふの空のありどころ
几巾（いかのぼり）きのふの空のありどころ
ikanobori kinoo no sora no aridokoro

this "squid" kite
in the same place
as in yesterday's sky
Tr. Gabi Greve


a kite flying
in the same place
as in yesterday's sky
Tr. and following comment : Chris Drake

A child or child with parent is out flying a large kite in the spring wind. As Buson or his persona watches from a place that has clear landmarks around it, he experiences an uncanny feeling when he realizes the kite is flying in the same part of the sky where he saw another kite flying yesterday. The open expanse of the sky seems to lead his consciousness to expand and oscillate back and forth between the present and the day before until linear time begins to recede and time becomes spatialized -- as open and borderless as the sky. This seems to be a kind of eternal moment in which he sees yesterday's and today's skies together as non-dual.
In Japanese, kinō, "yesterday," sometimes has the same open-ended meaning of "in the past" that the English word has, and many Japanese readers feel Buson in this moment of time out of time concretely feels or oscillates between the present and the remembered time of his childhood, when as a boy he watched a high-flying kite in the very same part of the "same" sky. The barely visible cord or string of the kite thus suggests the thread of memory that allows humans to feel they have a continuous identity and a linear life constructed of days and months and years, and it this cord seems to imply that humans can sometimes travel forward and backward in life narratives that are circular, like the sky.
Buson compared haikai history to a great circle in the preface to one of his renku collections, and he was surely familiar with the various circles drawn by zen calligraphers and painters, so I think this hokku is also setting up an oscillation between linear and circular or spherical time in general, as if we could have memories of the future. For example, perhaps Buson feels at this moment that he could already partially glimpse himself as he is now when he was a boy looking up at a kite. Since hokku (and painting) seem to give Buson access to spherical time, perhaps the kite in this hokku also suggests a hokku tethered to grammar and ordinary reference but flying beyond them and suggesting things in timeless time.
Perhaps this is why Japanese critics often refer to this hokku as evoking an experience of eternity.

Due to the ambiguity of the possessive or genitive particle no in sora no in the second line, it is also possible to translate the hokku without "as" at the beginning of the third line:

a kite flying
in the same place
in yesterday's sky

In this translation yesterday's sky becomes today's sky as well. Because of the grammatical vagueness, both readings sound natural in Japanese, but in English this second translation might strike some readers as forced or as a mistake. In some ways I like the second translation better, since it has a physical impact suggesting two simultaneous times. A less "contradictory" version of the second translation would go:

a kite now flies
in the same place
in yesterday's sky

- - - - - Chris Drake


. Yosa Buson 与謝蕪村 in Edo .

ikanobori 几巾 is a kigo for the New Year.


quote
Ikanobori 紙鳶. This means "kite", and don't let the straight-from-Chinese kanji spelling ("paper hawk") fool you: the etymology is "squid streamer."

But wait — Wasn't the Japanese word for "kite" actually tako, homophonous with and probably deriving from the word for "octopus"? Turns out that tako is the Edo word for "kite", and up until the great linguistic levelling of the Meiji period the Kansai area used ika[nobori]. The Nihon kokugo daijiten points out that in the deep north and far west, there's still another family of words in use, based on the root hata (perhaps related to hata meaning "loom"?).

So the "center and periphery" model of language change would suggest that hata was the original word, later supplanted by tako, itself later replaced by ika (at least in the Kansai region — presumably the center shifted to Edo before the word was able to fully propagate, Maeda Isamu 前田勇's Edo-go no jiten (江戸語の辞典, "Dictionary of Edoese") has an entry for ikanobori, but calls it a loan (着用語) from the Kansai area (上方). Of course, the real story is probably more complicated than a simple wave-based model, but it seems that kites simply weren't mentioned in much writing between the Heian and Edo periods, and evidence is scarce.
Makimura Shiyō 牧村史陽's Ōsaka kotoba jiten (大阪ことば事典, "Encyclopedia of Osakan dialect/words") has what looks like a pretty thorough if (understandably) Ōsaka-centric review of what historical evidence exists in its ikanobori entry.
source : no-sword.jp/blog


- quote -
A Famous Buson Haiku: Is It ‘Kite’ or ‘Kites’?
One of the peculiarities of the Japanese language is that while it’s does have a plural form for nouns it almost never gets used, mainly because the context that speaker is in dictates if they mean more than one of something. This gets a little tricky when it comes to reading haiku because the reader isn’t in the same physically present context as the speaker. . . . . .
- source : James Karkoski -


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凧っ平　浅見　英男（あさみ　ひでお）


for the year of the snake

Finally I want to introduce the kites of Mr. Hideo Asami. I met him at an exhibition in a store in Okayama City in 2001 and bought three kites all at once. Mr. Asami is very good with the brush, as you can see from the circle below the BIG Daruma kite. But what impressed me most was the writing of a special kite for my husband, rendering his name Bernard into "Beru (a bell) Naru (ringing) Doo (way)" , which he choose to write in chinese characters, making up a special version of the BELL part with a little bell instead of the strokes that belong here!




ベル鳴る道 beru naru do

浅見英男 Asami Hideo
http://www.mmjp.or.jp/tako/





My next best favourite is the BIG White, as I call him. He hangs in our Daruma Hall as if he was ment to be there. He is full of symbols of good luck: This very special kite has the most lucky charms on one figure (fuku o maneku Daruma Tako 招幸の達磨凧): The headband is in form of a pair of crossed herons, symbol for good marriage. The eyes in form of plover birds (chidori 千鳥), put on with wax to be shining. The chidori-form means your wish will be granted. The nose in form of the chinese character "To be happy" (yorokobu 喜). The ears in form of a gourd, with the Sanskrit characters for "A" and "Om", Beginning and End of all Things, on each. Symbol for a student who is studying all his life.
The beard painted strongly, symbol of good health.

The belly in form of mountains with the size of 7 5 3 (shichi go san 七五三), a lucky number for healthy children. General form of a rounded egg, since old times a symbol for good luck. Red color wards away bad luck, yellow brings money, purple expresses dignigty and the slightly pink face shows strong will.
The bow for the kite makes a sound when stretched to ward off evil spirits. If this much of lucky items does not help, who will? And the bells in the ear to wake you up from your dream about reality, the circle for the infinite truth...





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from Kagawa　香川県

kite in the typical Daruma from だるまの形の凧
painted with
. Kato Kiyomasa 加藤清正 .


. my PHOTO ALBUM : Kite (tako)

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- Legends about Kites -　凧伝説

Ehime
In the village 久万高原町 Kumakogen
There is a 凧屋の八兵衛 Kite Shop run by Hachibei. When he went to get a bride, he came to a ghost house. At night he saw a light in the garden and wanted to flee, but his new bride told him that this was the hiding place of a golden stone (kin no ishi 金の石). Next morning he dug in the garden and found a golden cup under the stone. Soon he was the richest man in the village.


Osaka
When children want to fly a kite (called 凧（いか） IKA in Osaka) and there is no wind, they call for a Tengu to help.
「天狗さん、風を下さい。余ったら返します。」
Tengu san, please send us wind. If it is too much, we send it back.
「天狗さん、もっと風おくれんか。余ったら返す」
Tengu san, please send us much more wind. If it is too much, we send it back.


. Tengu 天狗と伝説 Tengu legends "Long-nosed Goblin" .


In Yamagata 山形県
there is a takokai 凧怪 "kite monster".
It comes out during daytime, looking like a normal kite, but then comes closer and bites people. It has a face painted on it, but in fact, it is a Yokai monster.

There is also a Yokai called
toppuutako 突風凧 "strong wind kite".
It comes out during a typhoon and blows around like a whirlwind and causes much damage.

- source : nichibun yokai database -


. Legends and Tales from Japan　伝説 - Introduction .

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Bintulu International Kite Festival
Borneo International Kite Festival



September 30 till October 3, 2010

. Reference .


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. waraji tako わらじ凧
kite in the form of a straw sandal

This kite is made in memory of the great straw sandal from Mount Haguro. It is about 1 meter long and is used during the New Year celebrations.



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. . . . . H A I K U

kite, kigo for all spring


kite, tako 凧 (たこ)
raising a kite, tako age 凧揚げ（たこあげ）
kite fight, tako gassen 凧合戦（たこがっせん）
kite fite in Nagasaki, nagasaki no tako age
長崎の凧揚げ（ながさきのはたあげ）

paper kite, kami nobori 紙鳶（いかのぼり）
kite with picture, edako 絵凧（えだこ）
kite with Chinese characters, jidako 字凧（じだこ）
kite with YAKKO face, yakkodako 奴凧（やっこだこ）

kite like a fan, oogidako扇凧（おうぎだこ）
kite like a military leader's fan
gunbai, gunbaidako軍配凧（ぐんぱいだこ）

kite that makes a sound, unaridako うなり凧（うなりだこ）

Baramon kite from the Islands of Goto, Nagasaki
baramondako ばらもん凧（ばらもんだこ）


line of the kite, tako no ito 凧の糸（たこのいと）
tail of the kite, tako no o 凧の尾（たこのお）

fine day for kite flying, takobiyor 凧日和（たこびより）

hooked kite, kakaridako 懸り凧（かかりだこ）
kite with cut line, kiredako 切れ凧（きれだこ）
"kite going wild", kuruidako 狂い凧（くるいだこ）

group of kite fliers, tako no jin
凧の陣（たこのじん）
mostly in a competition



切凧のくるくる舞やお茶の水
kire tako no kuru-kuru mau ya ocha no mizu

broken kite dancing
'round and 'round...
Ocha-no-Mizu

Kobayashi Issa
Tr. David Lanoue

Ochanomizu and Haiku



Kites as kigo in INDIA



. Black Kite, Milan noir (tonbi)
a bird of prey


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source :　hikaru
Kunisada : Kites of Edo


Folk Toys of Japan :
. tako 凧 kite .


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[ . BACK to DARUMA　MUSEUM　TOP . ]

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WKD - Sakazuki

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Sakazuki, small cups to drink Sake

さかずき【杯／盃／坏】
choko, ochoko ちょく【猪口】





I have written extensively about

Tokkuri - Drinking Hot Sake with Daruma
徳利とだるま―焼物散歩

Sake and Shochu - Ricewine, Schnaps and Daruma
酒、焼酎と達磨 ...


My Photo Album about Sake and Daruma


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Here is a nice pair made of wood and laquer. It starts of as one figure, and develops into a set of two cups with a small tray, almost like the maryoshika dolls of Russia.



Both heads are made flat so they stand as a sake cup.



Nr. 15 to 17 in the Album.


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This piece is rather large, almost 25 cm.
I have written about a similar small one in the story about Takasago.
At first it looks like a small statue, then you take of the head and have the first sakazuki. Next comes O-Kame, off and used as a sakazuki for the wife.



Again, the heads are formed rather flat so the cups can stand.



Nr. 09 - 12 in the Album.

Read about
Meoto Daruma and Takasago - Daruma and a Happy Couple


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Some sakazuki from Kutani



There are more in my Album, Nr. 18 to 21.

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Tumbler with Daruma 達磨タンブラー


中国醸造


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choko cups with a flask


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SOME LINKS

The very small cups for ricewine are called sakazuki　杯.
Somewhat bigger versions are guinomi　食いのみ or o-choko.


. . . CLICK here for guinomi Photos !



In olden times flat vessles of earthware were called
hiraka ひらか【平瓮】


Books about Sake Vessels -
from www.e-yakimono.net, Robert Yellin

COMPLETE LISTING OF SERIAL SAKE STORIES
All Stories by Robert Yellin

... ... ... ...

Japanese Sake Containers - A bit on the KITSCH side.

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Japanese Military Sake Cups 1894-1945
This is the first book of its kind
regarding the up-and-coming hobby of collecting Japanese Military Sake Cups (guntai sakazuki). It consists of 144 pages of useful information and photos regarding the usage and history on Japanese Army & Navy sake cups used by the military for roughly 50 years. The book covers cups, sake bottles, sake trays and commemorative items. The cups photographed in the book are the result of the author's 20 years of collection WWII Japanese militaria with a focus on sake-related items.

The attraction of these cups is not only hand made, hand painted craftsmanship but their historical significance as well. Many cups will have the owner's regiment, name etc..on the cup which gives the collector the option of researching the cup to discover where the original owner was stationed during the war.

The Japanese military machine chose to revive several age-old samurai traditions including the use of hand-forged swords, long helmet straps tied in the samurai style, and the consumption of ceremonial sake before a battle.

The sake was consumed in a solumn ceremony, with no words spoken other than a reverent, singular "Kanpai" by the leader.

- other books by Dan King

The Last Zero Fighter
Firsthand Accounts from Japanese WWII Naval Pilots and Airmen

A Tomb Called Iwo Jima
Firsthand Accounts from Japanese Survivors

- source : Dan King

兵隊盃 　/ 従軍記念杯

- reference about these cups

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盃に 三つの名を飲む 今宵かな
sakazuki ni mitsu no na o nomu koyoi kana

with a sake cup
I drink to the three names
this fine evening

Matsuo Basho
Tr. Higginson

Where is the season word?—you ask? In the opening quatrain of
Li Po’s poem "Under the Moon, Drinking Alone":

Among the flowers one jug of wine:
drinking alone with no one familiar,
I offer my cup to the bright moon
my shadows and I a party of three.


Bashô, too, drinks alone, but has the companionship of "the three names": Li Po and his two shadows of the same name (one on the ground, one in the wine cup). Oseku points out that we should also note the puns in this hokku: Puns on "moon" (-zuki cup = tsuki moon) and "full" (mitsu three = mitsu to fill).5 Rather than provoking humor directly as a pun in English might, these implied words simply capitalize on the profusion of homonyms in Japanese to provide further clues to the poem’s hidden seasonal topic.

William Higginson, 2001
source : www.haijinx.com



la coupe de vin (la lune)
remplie de trois noms
pour boire ce soir

Tr. Daniel Py



On that night, there were three uninvited guests at Basho's home, all with the name of Shichirobei 七郎兵衛.
Basho had intended to drink alone in memory of Li Po, maybe, but the drunken visitors joined him.
This hokku has the cut marker KANA at the end of line 3.


. Li Po, Li Bo, Li Bai 李白, lived 701 – 762 .


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quote
Sakazuki ni / mitsu no na nomu / koyoi kana

With my sake cup
& the moon, I toast three friends —
this fine evening

Basho wrote this playful haiku in 1685, when three friends came to visit him late at night. He had in mind lines from Li Po’s poem:

With blossoms, a bottle of wine
Drinking all alone, no one else.
Raising the cup, we greet the bright moon
With my shadow we become three.

Basho substituted Li Po’s three friend, the wine cup, his shadow and the moon for three actual friends.

The influence of Chinese literature on Basho
Bill Wyatt
source : www.poetrymagazines.org.u


According to Wyatt, Basho's haiku was written in 1685, a time period that "the haikai world was swept by the "Chinese style" (kanshibun-cho)" .
(For further info. read the section titled "Parody and the Chinese Style" (Shirane,Haruo, Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Basho, pp 60-7)

Basho was well-versed in Chinese classics. Read in the emotional context of his poem ("this fine evening"), "three friends" could be also read as an allusion to a popular Chinese idiom, three is a crowd, contrasted with Li Po's lonely lifeworld (himself, his shadow, and the moon).

Chen-ou Liu



Ricewine and sakazuki cups haiku by
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .

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quote
Reviving Japanese Haikai Through Chinese Classics:
Yosa Buson and the Basho Revival

Li Po's poem Drinking Alone by Moonlight, the sixth in The Three Hundred Tang Poems
(月下獨酌, pinyin: Yuè Xià Dú Zhuó), translated by Arthur Waley, 1919, reads:

花間一壺酒。 A pot of wine, under the flowering trees;
獨酌無相親。 I drink alone, for no friend is near
舉杯邀明月。 raising my cup I beckon the bright moon,
對影成三人。 for her, together with my shadow, will make three people

"Three people" (or "a party of three;" Chinese: 三人) refers to the moon in the sky (, which connotates "Heaven"), Li Po's shadow on the ground ("Earth"),and Li Po himself ("Humanity").

Nankaku was a student of one of the most important Confucian scholars, Ogyu Sorai (1666--1728), who emphasized an unmediated understanding of Chinese classics, and whose thoughts had highly influenced the leading painters of nanga (also known as bunjinga, which literally means literati painting). Nanga was a school of Japanese painting modeled on the Chinese Southern school of painting, to which Buson belonged. Nankaku specialized in Chinese classics, and one of his greatest achievements was the Toshisen, a Japanese edition of one the most influential Chinese verse anthologies, Tang Selected Poems. The Toshisen had long served as one of the foundational texts for the bunjin movement.

The concept of “wenren” is highly related to that of “renwen” (wenren written inversely in Chinese). It can be found in the Yi Jing, also known as the Book of Changes, which is one of the oldest of Chinese classics. 36 Renwen can roughly be translated as meaning the "arts of humanity," one component of the three-fold Chinese universe: heaven, earth, and humanity. It "embodies all that is of the highest value to the society, and interacts with the other two: the spiritual and philosophical (tianwen) and the environmental and ecological (diwen). A person cultivated in renwen was originally called wenren.

source : Chen-ou Liu

Phenomenologically speaking, "three people" constitutes Li Po's lifeworld (German Lebenswelt understood in the Husserlian sense of the word).
Basho's allusion emotionally and tonally changes the connotative meaning of "three people."
Chen-ou Liu



. Chinese background of Japanese kigo .


koyoi no tsuki 今宵の月 the moon tonight
can be seen as a kigo for autum.

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. Sake 酒 for rituals and festivals .

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